Seth Rogen

Sarah Snook

Molly Evensen

Eliot Glazer

Kalen Allen

Kevin O'Rourke

Sean Whalen

Geoffrey Cantor

Carol Leifer

Jorma Taccone

Marsha Stephanie Blake

Alyse Zwick

Dalon Huntington

Jeremy Michael Grey

Efka Kvaraciejus

Darryl Bailey Smith II

Dino Rende

Peter Kybart

Joanna Adler

Herb Mendelsohn

Norm Golden

Al Nazemian

Adam Dunhoff

Mark Diamond

Leib Cohen

Liz Cackowski

Tim Robinson

Betsy Sodaro

Quinta Brunson

Kurt Braunohler

Michael Weaver

David Flick

Raymond Neil Hernandez

John Walpole

Ian Poake

Charles Rogers

Jess Stark

Jon Donahue

Amy Marsalis

Paul Monte Jr.

Julie Mun

Allan Snyder

Fabio Polanco

Havilah Brewster

Francis Capone

Alex McAtee

Dionysius Akeem

Nick Arapoglou

Paul Castro Jr.

Alexandre Chen

Kristin Cochell

Chuck Filipov

David Mattey

Jeff Daniel Phillips

Adam Ratcliffe

Estes Tarver

Lou Consolo

Matt Leonard

Esme Coleman

Brandon Trost

James Weaver

Evan Goldberg

Ted Gidlow

Francine Maisler

Karuna Karmarkar

Brenda Abbandandolo

William Arnold

Lisa Zeno Churgin

Simon Rich

Michael Babcock

Nami Melumad

John Guleserian

Chad Djubek

Gabe Hilfer

Alex Benevent

Lynn Kressel

Ryan Brown

Hunter Baxley

Brian Brown

John Koyama

Heather Bonomo

Sergei Dmitriev

Krisztian Kery

Chad Knorr

Brian Duffy

Dennis Keiffer

Shawn Howell

Matthew Rugetti

Donald Mills

Simon Potter

Cliff McLaughlin

Paul Nandzik

Jason Silvis

Mark Anthony Little

Austin Lapierre

Justin A. Williams

Matthew Cavaliero

Gary Kosko

Frederic Roth

Scott Peterson

Jason Cianella

Michael Fuchs

Brian Outland

John Ruiz

Brian Bresnehan

Tasha Goldthwait

James Eidel

Eve Negley

Robert Sciretta

Jacob Hoyson

Lisa Layman

Vanessa Price

Allan Barch

Tom Klabnik

Terra Stuart

Sierra Mendoza

Doug Fairall

Donald Klinefelter

Tori Musial

Candace Orlandi

Deb Peterson

Gina La Monica

Matt Feiler

Chase A. Abrams

Doug Cronin

Eliott Acevedo

Brian Powers

Greg Edwards

Russell Tyrrell

Sean Murray

John E. Tremba

Jonathan Curotola

Dean Tyrrell

Keith Seymour

Dan Flick

James A. Mahathey

Jason Kirker

David A. Dwyer

Geoff Maxwell

Jason Calabro

Taylor Flick

Shawn Boyachek

Larry Geyer

Nick Zinobile

Joni Smith

Gabrielle Gonnella

Tanoa Parks

Sheruldon P. Herron

Lisa Smith-Reed

Nathan Matt

Allison A. Millican

Comedy

Drama

An American Pickle

Point Grey Pictures

Gravitational Productions

Warner Max

Sony Pictures

United States of America

Manuel São Bento

If you enjoy reading my Spoiler-Free reviews, please follow my blog @
https://www.msbreviews.com

HBO Max arrives to become one more proof of how vital streaming has been to new filmmakers and writers all around the world. An American Pickle is the very first original film released by the respective service, and it gives the opportunity to Brandon Trost (solo directorial debut) and Simon Rich (feature film screenplay debut) to demonstrate their talents. Despite my curiosity about what they could offer, my eyes were obviously focused on Seth Rogen’s double performance. Even though he’s not the greatest living actor, I always enjoy his comedic roles, most recently in Long Shot and The Lion King. Possessing a premise with tremendous potential to deliver amazing laughs, how did it go?

Well, I’m surprised by how grounded and “realistic” Trost and Rich’s approach ends up being. In the first twenty minutes, everything points to a straight-up ridiculous story where the most absurd things occur. Basically, I love every single thing until the title card shows up plus a few more minutes. Herschel’s life goals, his relationship with her lover, what leads to him getting brined for a century, the (technically brilliant) “scientific” justification that they give after he’s found out to be alive and that he didn’t age a day… Everything is ludicrous, but what would you expect from the already crazy premise?

Never forget: having the wrong expectations (unrealistic, overhyped, nonsensical) can quickly turn your experience into a nightmare. An American Pickle has an absurd narrative because it develops an absurd concept. That’s what’s so incredibly entertaining about it: the possibilities are infinite as long as the people at the helm are creative enough. This is why I feel somewhat disappointed that primarily Rich couldn’t take this story even further, both character and story-wise. In fact, as soon as the end credits started to roll, my first thought was “is it over already?”

Throughout the whole runtime, the viewers have to deal with only two characters who aren’t deeply explored. Herschel is a man out of his time, but with his impressive determination and hard-working personality, he seems to surpass every challenge thrown at him. On the other hand, Ben struggles to get his product/idea on the market, but he doesn’t seem to have the same will that his great grandfather holds. Therefore, the whole narrative is stuck on a loop of Herschel doing things right, and Ben getting jealous over it and trying to mess with his success. Each reiteration becomes less funny, less entertaining, and less plausible (I can accept most plot points, but some are indeed way too nonsensical for the world it finds itself in).

Obviously, the comedy bits are almost all linked to Herschel and, as expected, to his dated cultural knowledge. It’s a matter of time until he says something he shouldn’t, mostly stuff related to his views on religion, racism, and every sensitive subject you can think of. Some viewers might even get offended by a couple of jokes, which are precisely the ones I laughed at the hardest. Unfortunately, Rich’s screenplay doesn’t have the imagination a premise like this demands (too focused on stereotypes and easy jokes), but having in mind this is his first writing role in a feature film, it’s a good start. Trost does a pretty decent job, especially when it comes to film two characters interpreted by the same actor, so I wouldn’t mind seeing these two working together again.

Nevertheless, it all comes down to Rogen’s double performance, and he nailed it. He’s the main reason why I’m giving this movie a positive review. He’s able to dive into these characters in such a compelling manner that, at some points, I genuinely thought this film was written and directed by him. It feels like a personal project, something that I can easily picture as a Seth Rogen’s movie. He’s hilarious when he needs to be, and extremely serious when the time calls for it. Finally, I don’t look at this film as a comedy because ultimately I don’t even think it is. It’s strangely a sweet story about family and why it should matter so much to every single one of us.

All in all, An American Pickle surprisingly takes a grounded approach on the “man out of his time” concept, making the whole message about “family”, even though its premise is absolutely bonkers. The first act sets up a logically ridiculous yet hilarious story that unfortunately doesn’t quite reach its potential. Debutants Brandon Trost and Simon Rich do a reasonable job with the narrative, but Rich could have explored the main characters a bit more, having to ultimately thank Seth Rogen for such a fantastic double performance. The style of humor present in the movie will not work for everyone, but it definitely did for me, even though it lost steam throughout the runtime. Its comedy is at its best when it tackles the dated cultural restrictions in Herschel’s mind. It’s a short, fast-paced story, with a neat score by Nami Melumad (Michael Giacchino wrote the themes), that anyone can enjoy just as long as they have the right expectations.

Rating: B-

SWITCH.

'An American Pickle' feels like a film with so much potential, but potential that is never fully embraced. It isn't the job of a reviewer to say what a film SHOULD have been, but to offer a critique of the film they're actually seeing. In that spirit, the problem with 'An American Pickle' is that there are really two films here jostling for dominance. Personally, the heartfelt comic fable about two generations of Jewish men finding a new place for themselves in the world while dealing with their grief is the film I was rooting for out of the two, not of two snarky men trying to find new ways to bring each other down. As it stands, 'An American Pickle' has an uneven flavour, where the many ingredients don't entirely come together.
- Daniel Lammin

Read Daniel's full article...
https://www.maketheswitch.com.au/article/review-an-american-pickle-an-uneven-comedy-that-hasnt-quite-fermented-enough

it is the trailer first caught me, I love the idea of an outdated man being overwhelmed by the modern world and struggle to adjust for nowadays life crises. the world must be so bizarre in his eyes but still much better than one hundred years ago (since we had made a long way).

....and I found the average score is not even made the pass line, I'm very hesitated. but the intro said it's an adaption of an NYT novel, so that must be worth something.

it's actually not bad to watch.

sure the scriptwriter chooses the easy way out and not dressed most of the modern-day problems, but you can feel his sincereness about the story. the movie does not express well but you get the "family matters most" the main idea.

and Seth Rogen is sooo cute in both characters. I mean don't you just wanna look straight into his sparkling eyes, rub his face and hug him like hugging a huge teddy bear?

it's not the preaching with laughs movie I've been expected, but it's ok to watch for idle Sundays

This movie stars Seth Rogen in a dual role as Herschel, an early 20th century Eastern European Jewish immigrant, and Ben, his last remaining descendant. To paraphrase a Family Guy episode, Seth Rogen looks funny even when he's not doing anything funny. Why, then, is An American Pickle, so unfunny (I laughed exactly one (1) time)? My theory is that two Rogens cancel each other out. My other theory is that the makers were going for a circa early-to-mid 70s Woody Allen-style film; Sleeper and Love and Death come to mind. The problem is that Allen himself stopped making that kind of movies about half a century ago (and even he had the good sense to use cryopreservation in Sleeper, which at least sounds sciency, as opposed to a brine-preserved body).

Much of what passes for conflict here stems from a billboard advertising vodka that has been erected adjacent to Herschel and Ben’s family plot. The former is determined to buy the billboard, which Ben says costs $200,000, and tear it down. The billboard, mind you, is facing the cemetery and not the street (and it’s established that Ben hasn’t visited the plot in at least five years, so not even he has seen the vodka advertisement). Why this billboard – which makes about as much sense as the ones in Three Billboards Outside Ebbing, Missouri – can be so costly and at the same time so worthless, is never explained.

Another good question is, what are the odds that Herschel and Ben, separated by a hundred years and several generations of (one hopes) exogamy, could pass for identical twins? Not good, especially when they look at old family photos and we see that none of Herschel's descendants look anything like him or Ben. The only reason for this genetic anomaly is that the script requires a case of mistaken identities during the climax of the film. That's it.

Wracking my brains to find a good reason for this film to exist, it occurred to me to interpret it as an allegory of Donald Trump’s rise to power. After all, Herschel is a narrow-minded, racist, homophobic, xenophobic, and misogynistic jerk who thinks and says horrible things, but who has a good head for business, allowing him to become popular and successful. That Herschel learns absolutely nothing and never gets his comeuppance is an indication that I may not be too far off.

But then I realized two things; first, even if my hypothesis were correct, the movie would have to be entertaining – which it isn’t – before it could work as satire; and second, I'd be giving the filmmakers way too much credit, when they probably just wanted to do a live-action remake of An American Tail.