The King of Staten Island

Every time he makes a film these days, it's as if Apatow got carried away at the pick-and-mix and walked off without realising the bag has split.

It's a film full of characters who have to say "I'm sorry" a lot. Bottom line, though-they're all quite recognizably and vibrantly human.

If you're prepared to give Davidson a chance, Apatow's entertainment instincts and a well-chosen supporting cast are enough to ensure the film never becomes an outright drag.

Viewers familiar with Davidson's role as a similar good-natured yet immature loafer in 2019's Big Time Adolescence may find the typecasting unoriginal, but the fact of the matter is this: it's a type Davidson shines in.

...when you've got a character like [Davidson's] Scott... you can't expect, if Apatow trusts us as viewers, that we're going to get some totally inspirational transformation...

It works best as a tale of flawed men struggling to navigate a new world of #MeToo and mental health awareness whilst tackling the ghosts of their fathers' expectations. And the uplifting pay-off is diligently worked for, even if it's a long while coming.

It’s a film that has its positive qualities – especially when viewed in light of Davidson’s experience – but it doesn’t ultimately bring it all together.

The King of Staten Island employs a very well-known (and a bit overused) formula that goes on for way too long, but Judd Apatow balances it with a hilariously dark sense of humor, with the help of his co-writers, Pete Davidson and Dave Sirus.

The talented cast welcomes every opportunity to create an authentic and natural vibe that comes through the screen.

...a predictably overlong yet mostly compelling endeavor...