An American Pickle - Review

 

Seth Rogen (“Freaks and Geeks,” “Pineapple Express”) is no stranger to creating a bizarre mix of raunch and heart that really shouldn’t work. Films like “Pineapple Express” and “Superbad” layer their tales of friendship and love underneath the guise of weed and bad behavior, and other films like “The Disaster Artist,” “The Night Before,” and “50/50” are more upfront with their emotional stakes.

So, it should come as no surprise then that An American Pickle is his most “emotional” film yet. But what exactly does that mean, and does that equal a good film?

Rogen has double billing here, both as Herschel Greenbaum, the early 1900’s immigrant who ends up pickled, and his great grandson Ben Greenbaum. While there is the typical Seth Rogen shtick here, with pop culture and jewish gags, there’s something different about Rogen’s performance. Neither role is identical in any respect, despite the visual similarities, and neither person is innocent either.

There’s actual character development and growth as the story progresses, and it allows Rogen to stretch his legs arguably more than ever before. The supporting cast is also good, but no one here has nearly enough screen time to mention, save for Sarah Snook (“Succession,” “Steve Jobs”) as Herschel’s wife, Sarah Greenbaum. She’s sweet and delivers her deadpan lines well.

Simon Rich (“Man Seeking Woman,” “Saturday Night Live”) wrote the screenplay, which was based on his short story “Sell Out,” and for anyone familiar with his previous works, “Pickle” isn’t nearly as sweet, nor as sour, as it could’ve been. Where Rich’s most successful works brilliantly blended the bizarreness of modern life with an overblown sense of fantastical elements, “Pickle” is far lower key than previous outings. It doesn’t mean the dialogue is any less snappy or the emotional arcs any less crunchy, its just a bit more pedestrian than its writer and premise might have suggested.

Each machination on religion, one’s purpose in life, and the nature of family still ring true, and Rogen’s eager delivery sells it all. Herschel is easy to care about and it’s easy to be angry or apathetic towards Ben, but Rich is never content with letting those surface glances be the only ones we get, even as the movie gets bogged down in some “look at the old guy experience the modern world” clichés.

Cinematographer turned Director Brandon Troust (“This is the End,” “The Interview”) certainly has created a bizarre world here to play in. The way everything is shot gives the appearance of a stage play, as if the backdrops are merely made of cardboard. While it isn’t as evident in the modern-day sections of the film, it’s the 1900’s chunk that really shines with a slimy sheen of beauty that is definitely distinct.

Make no mistake, as good as the dialogue, the vibe of the film, and Rogen’s performance is (and his performance is very good) the entire film lacks that something special to make it a must-see affair. That might be odd, saying a movie about a man who’s been pickled for 100 years lacks something special, but it is indeed the case.

It’s far from terrible and fits snuggly in Rogen’s filmography alongside his other weird and heartfelt films, but it just doesn’t come together as smoothly as one might hope. It’s still got a delicious crunch to it that should please Rogen and oddball movie fans alike. 3.5/5