Poetic License follows three characters at an important crossroads in their lives. Sam (Andrew Barth Feldman) is graduating from college this year, everything seems to be lining up for him as he has a great job lined up, a girlfriend and better sense of confidence. He has every material thing someone would want out of college. His best friend Ari (Cooper Hoffman) will miss him though and this is their last hurrah. Then they meet Liz (Leslie Mann) a mom and therapist who the boys decide to get involved with and the results are questionable relationships but undeniable laughs.
Poetic license feels like if you put the two characters from A Real Pain into a comedy where they both have affection for the same woman while in college.The film certainly stretches believability to the limit but in return you get a great buildup. The film does a great job naturally entangling into the lives of these two boys lives. The film does this by showing how her heart yearns for a deeper emotional connection she is not getting at the moment. With her daughter growing into her own and her husband busier than ever and without a clear vocation the poetry class that the three characters share becomes the only way for her to express her emotions.
In her directorial debut Maude Apatow’s visual and sonic presentation is not attempting to break any creative norms rather she presents a lot of of great opportunities to let the actors make their characters funny. Cooper Hoffman in particular gives his best performance as a man of eccentric energy who also exudes a strong melancholic side. He gets to show off his charisma and brings layers to his character. Leslie Mann shows a strong heart and emotion that grounds the film’s emotional beats. The film is cut well to bring up the humour in it, mastering the art of the reaction shot from bystanders better than many a modern comedy. An absolute must watch in a crowd, it brought the house down at Princess of Wales.
Poetic License is playing at TIFF ’25. For more information, click here.
