The latest big studio comedy, “Joy Ride,” is a unicorn. It’s a comedy in an era where the big studio comedy is essentially dead. And it’s an Asian-American film in the era of wokeness that is not woke. At least not racially woke. While far from perfect, it’s a sign that political correctness is becoming tiresome to those who are supposed to be peddling it.
“Joy Ride” is a comedy about two Asian-American women who grew up best friends in suburban Seattle. Audrey is adopted by a nice white couple. Lolo and her family have immigrated from China to Washington state. Audrey is driven by a deep sense of inadequacy, based in part on bullying in school. She becomes a classic overachiever. Lolo is the exact opposite. While the film begins in America most of the plot occurs in Asia, specifically China and Korea. Audrey is sent there on a business trip to try to land a big deal with some high rollers. When they get there they decide to find Audrey’s birth mom. Along the way they pick up two more Asian friends, Kat and Deadeye, forming a comedically formidable quartet.
This could have easily been a serious drama, more in the vein of 2019’s “The Farewell” starring Awkwafina. That was a beautiful film about the nature of family, life, and death from a distinctly Asian perspective. But instead, Audrey and company go on a riotously funny (and at times incredibly vulgar) screwball adventure.
Some of the more vulgar
