50/50

Let’s start by addressing what you’re already thinking: cancer comedy. Not funny. Remember Funny People? Yeah, not funny. But 50/50 isn’t a comedy that taps into cancer just for the shock value. Quite the opposite, 50/50 explores the entire experience of the disease; in a movie where just the slightest missed delivery or awkward joke could leave the audience cringing, 50/50 stays true and navigates those murky waters in nearly miraculous fashion.

50/50’s strength over other cancer-related comedies is its realism and humanity. Complete in its depiction of sudden diagnosis, it rips the protagonist, Kevin, from his nearly perfect life. Furthermore, the film unflinchingly displays the realities of cancer while staying light with humor. Kevin’s first trip to chemo is a heavy scene—ten seconds later, he meets two elderly cancer-ridden companions who peer pressure him into eating “super-potent” medicinal marijuana cookies. The entire script is wrought with this-could-actually-happen moments, both in the dramatic and comedic. That 50/50 is inspired by true events, then, comes as little surprise.

Such a tagline usually translates into a loose collection of facts interspersed with flashy detail. Screenwriter Will Reiser, was, in fact, diagnosed with spinal cancer, and wrote 50/50 from personal experience. This gives the film a level of detail and realism that most movies fail to grasp.

Director Jonathan Levine handles the film superbly, allowing it to oscillate between humor and drama. In one scene, Kevin uses the cancer card to bag a pair of ladies, before desperately trying to cope with feelings of alienation as his cancer worsens. Levine doesn’t allow the film to ever become pure slapstick, but he also refuses to succumb to obnoxious melodrama.

The film is brought together by the cast. Each actor performs his part with tact, subtlety and skill. Joseph Gordon-Levitt sinks his teeth into a fantastic role as cancer patient Kevin, showing a full emotional range in a shockingly convincing manner. Seth Rogen as Kyle is akin to a giant, excessively vulgar baby with a righteous beard, albeit with innocence and good intentions. Rogen’s infectious laughter and affability allow him to dish out line after line of hilarity without becoming oppressive. The last major player is Anna Kendrick, as Katherine, Kevin’s therapist. The graceful interplay between Levitt and Kendrick is a pleasure to watch. Several minor characters are all performed with true human vulnerability, allowing the audience to become fully invested in Kevin’s struggle.

There are too many good things in 50/50 to succinctly describe. The movie captures audiences both when they are silent and laughing, leaving viewers vulnerable, caring and, most of all, certain that 50/50 is more than just another cancer comedy.