By Henry McKeand
In the everchanging movie landscape of the past decade, one of the great casualties has been the wide-release R-rated comedy. In the 2000s, raunchy joke-a-minute projects were being made with big stars for less than $50 million and reliably turning a profit at the box office, but there was a shift in the industry around a decade ago. Suddenly, studios were afraid to take a risk on releases that didn’t have superhero spectacle or franchise potential, and mid-budget films began to face an uphill battle at the cineplex. Comedy moved to television and the internet, while lighthearted fare in movies was relegated mostly to direct-to-streaming leftovers and throwaway gags in larger blockbusters.
This is part of what makes One of Them Days, Lawrence Lamont’s new comedy starring Keke Palmer and SZA as friends on a Los Angeles odyssey to recover their rent money, such a breath of fresh air. It’s a capital-C comedy with a back-to-basics buddy dynamic and modest budget (around $14 million), relying on a funny trailer and the strength of its stars to drive audiences to the theater. There’s an old-school appeal here that has already made it successful with critics and audiences, but the real highlight is the working class core of the narrative. When was the last time you watched a crowd-pleaser where the main dramatic question was whether or not the main characters would be evicted?
Palmer plays Dreux, an ambitious young woman working as a waitress at a small diner who has an important corporate interview coming up in the afternoon. SZA plays Alyssa, a talented artist with a laid back demeanor and “candles and crystals” sensibility. While Dreux has a plan for everything, Alyssa goes with the flow and believes that the spirits of their ancestors will guide them through anything life has in store. But when Alyssa’s do-nothing boyfriend Keshawn runs off with their rent money, they’re forced to work as a team and race against the clock to get their money back before their landlord kicks them out, contending with various local oddballs, criminals, and love interests along the way.
The ticking clock, escalating insanity, and “best friends” bickering call to mind countless comedies from yesteryear, from House Party to Superbad, but the best reference point may be the original Friday. Syreeta Singleton’s script shares not only a working class LA milieu with the F. Gary Gray and Ice Cube classic, but also a similar blend of social realism and class clown silliness. The best Black comedies of the 90s and 2000s, such as Friday and The Wood, served as more socially conscious alternatives to their “white yuppie in crisis” peers, and One of Them Days is no different. Whereas the few big-budget comedies of the past ten years have either been absurdist romps disconnected from reality (Bottoms, Barb and Star go to Vista Del Mar) or Hangover-esque tales of well-off middle class characters cutting loose (Booksmart, Ricky Stanicky), Lamont and Singleton focus on the daily problems that Black and working class people face.
More so than the gangsters and bullies who stand in Dreux and Alyssa’s way (here, Friday’s Deebo is swapped out for a take-no-shit neighborhood woman nicknamed “Big Booty Berniece”), the true villain is the capitalist, white supremacist world that they live in. Their ceiling is falling apart, but their landlord hasn’t fixed it. When they get their first white neighbor (Euphoria’s Maude Apatow) as a result of ongoing gentrification, they’re shocked that her unit has a working AC. In order to whip up some quick money, their only obvious options are trying to donate at a blood bank and applying for predatory loans. And when they end up en route to the hospital after one of them is electrocuted, they decide to escape from the ambulance because they can’t afford the medical bill.
Things aren’t all bleak, though. This is a film that understands the power of friendship and solidarity in the face of oppressive systems. The various neighbors argue and isolate themselves just like everyday people, but they also come together and stand up for one another as tenants and members of a shared community. And while Dreux and Alyssa have their differences, the script never forces conflict between them. For all of her flakiness, Alyssa is refreshingly supportive in her support for Dreux, and SZA, in her first major acting role, captures the character’s eccentricities and contradictions remarkably well. Palmer, too, is predictably great; her movie star charisma has been evident for years, and she is routinely hilarious as Dreux. Together, they create a lived-in quality to their characters’ friendship that’s authentic and warm.
It doesn’t hurt that this is the funniest feature-length script in years, never afraid to balance sweet human touches with comedic big swings. One scene, involving the blood bank and Abbott Elementary’s Janelle James as an irresponsible nurse, is one of the most laugh-out-loud things to grace the big screen in a long time. There’s also no shortage of perfect cameos, including Lil Rel Howery as a sneaker obsessive and Katt Williams as a sidewalk truth teller named Lucky. But the biggest standouts are the lesser-known names, such as Patrick Cage as Dreux’s mysterious crush and Joshua Neal as Keshawn. Neal, especially, embodies an all-too-real kind of unambitious, manipulative boyfriend with hilarious conviction.
Movies like One of Them Days are often classified by Hollywood as “minor” or “low stakes.” There’s no high-concept twist or massive energy beam threatening to destroy the world. These kinds of “low stakes” movies, however, are the ones that capture the actual joys and stresses of modern life. Take, for example, the scene where Dreux has her interview and has to prove herself to a white hiring manager who doesn’t know how to pronounce her name. The sequence is overflowing with emotion and humor and suspense, and it’s all rooted in something “mundane.”
At one point, as Dreux is talking to a neighbor who has been evicted and is worried about where he’ll go next, she says four simple words: “Your life is lifing.” It’s an acknowledgement that day-to-day existence is far too urgent and scary for the majority of us. One of Them Days isn’t a radical film, or at least it shouldn’t be. It’s not a vitriolic call to action or an openly socialist film. But by honing in on these kinds of mundane, material realities, it stands out from the endless stream of studio releases that are completely disconnected from working class concerns.
Films are powerful in their ability to reflect and influence public opinion, and the success of One of Them Days points to a growing dissatisfaction with capitalism. The contradictions and stresses in our everyday lives have gotten to a point where audiences are ready for stories that take stands landlords and the healthcare system. Slowly but surely, the needle is moving.
If your life is lifing right now, and you want to fight for a world in which people don’t have to struggle in order to have simple necessities, then the time is now to get involved with groups like Triangle DSA and Triangle Tenant Union!