As any college student might know, few things are more nerve-racking than the admissions process. What they don’t know is the chaotic and emotional world on the other end of that application.
In Paul Weitz’s newest film “Admission,” this commonly pondered topic comes to light as Tina Fey and Paul Rudd unite for the first time ever on-screen. Together, they tell a story that’s two parts drama and one part heartwarming, with a generous dash of humor.
The film centers around a broken and unconventional family. Portia Nathan (Tina Fey) begins as an obsessive rejection-happy admissions officer at Princeton University. When she mistakenly stumbles across a student who might possibly be the long-lost son she gave up for adoption 18 years before, her disposition changes drastically. She also picks up an unlikely romance with a former classmate, John Pressman (Paul Rudd).
Given the nature of the plot, the film is in many ways raw and dramatic. At the same time, Weitz builds a delicately fresh and relevant comedy to give it a degree of depth and realism. And he skillfully gives each situation a healthy spoonful of humor.
In one particular scene, Fey viciously stabs a plate of chicken, setting some aside for her ex-husband Mark while exclaiming that he loves “legs” and “thighs,” a mere three minutes after he leaves her during a house party. Mark provides as well-timed comedic relief throughout the film with his vicious pregnant girlfriend in tow. Many of their encounters rely on awkward wordless exchanges reminiscent of Fey’s style in “30 Rock.”
“Admission” provides as a reverse-spectrum complement to Fey’s earlier role as an eager-to-be mother in “Baby Mama.” Fey is delightful as a more vulnerable and less-together maternal figure, far exceeding her performance in the previous film. She can slip between tearful longing in wanting to meet her son and hysterical and harmless stalker-like tendencies.
The film is most charming for the comedic tango between Fey and Rudd. Both their characters suffer from opposite flaws; while one is an overbearing control freak, the other is a sporadic charity case worker. Fey and Rudd pull the unlikely duo together through the use of cleverly delivered lines and quirky situations: cow deliveries, existential puppeteers and awkward frat-party encounters.
Accompanying Fey and Rudd, Lily Tomlin delivers a callous, yet hysterical, rendition as Portia’s egocentric mother Susannah. With Tomlin throwing back drinks and getting a little frisky on the couch, the film adopts a fresh dose of spice. Yet it seems no comedy would be complete without the brutal honesty of a child. Nelson (Travaris Spears), John’s adopted son, does just that as he kicks soccer balls at Rudd’s face in frustration.
Jeremiah Balakian (Nat Wolff), Fey’s long lost son, is a character that speaks to the audience’s inner nerd. Being an underdog with horrible grades but a true desire to learn sets him apart from the rest of the crowd. His abilities as an autodidact and as an existential puppeteer stirs together a combination of humor and inspiration. Wolff’s sweet, yet socially awkward performance captures the viewer’s heart.
The film is riddled with thought-provoking messages and quirky wit, however, once the credits end, the film becomes just another good movie. Of course, the film is a must-see for the devout Fey fan, but for everyone else, it’s simply a good Sunday matinee kind of movie. Entertainment is a guarantee, but viewers shouldn’t expect lifelong significance from this film.