The King of Staten Island (2020) Review

 

The King of Staten Island (2020)

The King of Staten Island follows Scott, a young man with no purpose who is tied down by the death of his firefighter father, but finds his purpose and family in the fire department.

Judd Apatow, since Freaks and Geeks, has been one of the best at heartfelt comedies that are funny and quirky, but also incredibly sincere. In this case, it’s in the form of a semi-autobiographical picture about the life of actor and comedian Pete Davidson, who’s own father died responding to the attacks on 9/11.

The themes of family and connecting with others that care is important, seeing him grow closer to his mom, sister, and Ray, while distancing himself from those that held him back. It’s all about letting go and accepting the help and love he never knew he needed. Once he can do that, he will have a foundation to build upon, something he sorely lacked. He grows significantly as a person and seeing him develop into a grateful son, brother, and eventual boyfriend completes a beautiful arc.

The implementation of New York, specifically Staten Island, was also very well done because for New Yorkers, the city is who they are. Everyone has their own stories and how they have been affected. But it’s always been a city of rebuilding and coming back stronger, and for Scott growing as a person and learning to appreciate the little things is a beautiful parallel.

I love the cast, starring Marisa Tomei, Bel Powley, Maude Apatow, Steve Buscemi, Bill Burr, & Pete Davidson. Davidson, as immature he is, brings a hilarious style that feels very personal in Scott, making his growth all the more special. Burr is also perfect, nailing that hard ass stepfather type and showing some great range and fantastic chemistry with Davidson.

The King of Staten Island, directed by Judd Apatow, is a deeply personal and honest film that reveals a side of Pete Davidson we have never seen before. It’s sweet and sentimental, acting as it’s own avenue for him to confront his past and come to terms with his own personal tragedy in a way that always feels original in its honesty.

8.8/10