As bizarre as it may seem, a comedy about abortion isn’t that unique of an idea. “Juno” and “Knocked Up” made the unplanned pregnancy funny over a decade ago and since then, numerous other films have centered around the idea; “Obvious Child,” “Saint Frances,” “Grandma,” “Palindromes,” “Polyester,” “Citizen Ruth,” and films like “Fast Times at Ridgemont High,” “Dirty Dancing,” and “Alfie” have abortion come up within their plots.
In 2020 though, its extremely easy to see “Unpregnant” receive a whole heaping of comparisons to “Never Rarely Sometimes Always.” The plots are almost exactly the same, save for some differing locations and a clearly different tone. But, instead of comparing “Unpregnant” to that serious dramatic affair, its more aptly compared to 2018’s “Booksmart” in its tone, comedy, and winning cast.
The two leads, Haley Lu Richardson (“Support the Girls,” “Edge of Seventeen”) and Barbie Ferreira (“Euphoria”) have a perfect chemistry that flourishes as the plot requires. Their friendship never feels fake or forced, and the two play wonderfully off each other. While they are the two main roles, the supporting cast that pops up throughout their journey are virtually all scene-stealers, even if those scenes only last for a few minutes.
Breckin Meyer (“Clueless,” “Robot Chicken”) is an absolute scene-stealer as Mark, an overly devoted and antagonistic Christian father, Sugar Lyn Beard (“For a Good Time, Call…,” “Mike and Dave Need Wedding Dates”) is twitchingly creepy as his wife, Australian pop star Betty Who appears for mere moments as a wonderfully charismatic stock car driver, and Denny Love (“Looking for Alaska,” “Empire”) as a momentary kind face who helps the girls escape from the cops.
The two supporting characters who get the most screen time are Alex MacNicoll (“13 Reasons Why,” “Transparent”) as Kevin, the clueless but well-meaning boyfriend of Richardson’s character and Giancarlo Esposito (“Breaking Bad,” “The Boys”) as Bob, a limo driver. MacNicoll rides the line between well intentioned and complete idiot perfectly, until he implodes in the third act. It’s a testament to Esposito’s talent that, despite not saying much, he leaves his bizarre mark on the film and transforms into one of its most memorable characters.
If there’s anything that will draw debate as more people see the film, it’s the use of humor within the subject material. Writer/Director and Funny or Die alumni Rachel Lee Goldenberg (“A Deadly Adoption,” “Valley Girl”) and the rest of her writers Ted Caplan (“Love Sonia”), Jenni Hendriks (“How I Met Your Mother”), Jennifer Kaytin Robinson (“Someone Great”), and Bill Parker (“Billy on the Street”), adapting from Caplan and Hendricks novel, make the smart decision of forgoing any and all jokes about abortion within the film.
Despite the premise, there’s never any “dead baby” jokes or things of that nature. There is an extended and elaborate sequence that makes fun of the far extreme pro-life activists in a way that virtually borders on parody. It’s a highlight of the film thanks to its ridiculous and goofy nature, but often times the humor gives way to the more emotional conversations the film wants to have.
An initially humorous moment turns somber as Richardson screams her frustrations at the governmental system and the men behind it who’ve forced her to travel 900 miles for an abortion. Her previously mentioned boyfriend turns from a comedic idiot to a sinister force as he reveals his true colors as the film progresses. It’s a great example of using the disarming aspects of comedy to peel back and reveal some real-world frustrations.
Unfortunately, it isn’t all great. The film’s biggest flaw is, for as entertaining as its sideshow characters are, it’s a pretty routine road trip comedy, complete with the same emotional beats between the two main friends seen numerous times before. It does lead to a feeling of sameness that sets in by about halfway through, but at least it’s an entertaining sameness regardless.
“Unpregnant” may be cliched by road trip comedy standards, but its central premise, cast of characters, two leads, and use of its humor make it a surprise delight of a film. It clearly isn’t the most serious take on its topic, but there’s still a surprising amount going on underneath the candy-colored and pop music sheen. 4/5
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