Joy Ride (2023) — Movie Review

"Joy Ride," the pioneering directorial debut of Adele Lim, co-writer of "Crazy Rich Asians," is a testament to the burgeoning diversity in cinema. Premiered at SXSW, this film is a groundbreaking endeavor with an all-female cast. It includes a non-binary actor and represents the stride taken in Asian American representation in Hollywood.

In the film, Lim humorously remarks that all it took to make the film a reality was a wealthy white ally. In this case, producer Seth Rogen. Keeping a low profile, Rogen allowed the spotlight to shine on the trailblazing cast during their illustrious moment.

"Joy Ride" offers an essential reflection of representation on screen. It shows that Asian American comedians can be as entertaining, risqué, and successful as their Caucasian male counterparts. The film opens in 1993, capturing the first encounter between best friends Lolo (Sherry Cola) and Audrey (Ashley Park) in a predominantly white town named White Hills. As the only two Chinese American kids, they immediately bond.

Despite their stark differences in character, the two girls grow together, clinging to their shared experiences. Outspoken Lolo, an artist with deep roots in her culture, uses her work to challenge gender norms and spark conversations. On the other hand, Audrey is a reserved lawyer who competes with her white male colleagues.

Scriptwriters Cherry Chevapravatdumrong and Teresa Hsiao expertly establish a comedic tone that underscores racial commentary throughout the film. They poignantly highlight the constant scrutiny and stereotyping faced by Audrey and Lolo, even when unintentional. The writers also spotlight the women's effort to break the glass ceiling in their respective professions.

Audrey, though grateful for her colleagues' effort to throw her a "Mulan" themed birthday party, aspires to climb higher in her career. She aims to land a deal with a Chinese client to become a partner at her firm. With Lolo acting as her translator, she embarks on a trip to Beijing to simultaneously look for her birth mother. Joining them are Audrey’s college friend Kat (Stephanie Hsu) and Lolo’s cousin Deadeye (played by non-binary comedian Sabrina Wu).

Each character contributes their unique experiences as Asian Americans. Unlike shows like “Fresh Off the Boat” and “Awkwafina is Nora from Queens” that explore the Asian American experience in the US, “Joy Ride” stands out by setting part of the story in China and South Korea. Audrey's struggle of feeling too Asian for America and too White for Asia resonates with many and adds depth to the film.

The film also excels in comedy, taking a bold approach to sex, drugs, cultural immersion, and bridging generational gaps. The journey of the crew is filled with everything from encounters with drug traffickers, humorous escapades with Chinese basketball players, to vagina tattoos. The comedy relies on astute societal observations and cultural representation rather than slapstick humor.

Unlike many raunchy comedies, "Joy Ride" doesn't see sex as a goal but a natural part of life. The film portrays sex as a fun and liberating way for characters to express themselves. Kat's character, a successful actress engaged to her Christian Chinese co-star Clarence (Desmond Chiam), who thinks she is a virgin, offers a comedic subplot as she navigates her high libido and his demand for chastity. Although men in the film take a supporting role, they add to the comedic effect when they appear in scenes.

Lim's directing style combines traditional techniques with creative character sequences, including a hilarious K-Pop music video scene. With its deeply layered comedic writing and universal themes, "Joy Ride" seems to warrant more than its 95-minute running time. Given the richness of the characters and the pressing need for diverse storytelling, a sequel seems inevitable. "Joy Ride" is setting a new gold standard for progressive comedy.