There’s a certain kind of low-budget indie comedy that’s packed with the hippest, funniest comedians you know . . . who just sorta sit around with nothing to do. They’re not so much hangout films as they are grotesque wastes of talent. What’s frustrating about the recent “dark romantic comedy” Happily is that starts as something conceptually, visually exciting in its first act, only to devolve into one of those comedy-scene talent wasters as it quickly runs out of ideas. Happily opens with a wicked black humor and a heightened visual style that recalls what everyone was drooling over with Game Night back in 2018. Unfortunately, it leads with all its best gags & ideas, so after a while you’re just kinda hanging out with hip L.A. comedians in a nice house – which isn’t so bad but also isn’t so great.
Joel McHale & Kerry Bishé star as a couple whose persistent happiness and mutual lust—as if they were still newlyweds after 14 years of marriage—crazes everyone around them. Their cutesy PDA and ease with conflict resolution is first presented as a mild annoyance to their more realistically jaded, coupled friends. Then, Stephen Root appears at their doorstep like the mysterious G-Man in Richard Kelly’s The Box, explaining that their lovey-dovey behavior is supernaturally deranged, a cosmic defect he needs to fix with an injectable fluorescent serum. That Twilight Zone intrusion on the otherwise formulaic plot feels like it should be the start to a wild, twisty ride. Instead, it abruptly halts the movie’s momentum, forcing it to retreat to a low-key couple’s getaway weekend in a bland Californian mansion with its tail tucked between its legs.
In its first half-hour, Happily is incredibly stylish for such an obviously cheap production. Red color gels, eerie dreams, disco beats, and an infinite sea of repeating office cubicles overwhelm the familiarity of the film’s genre trappings, underlining the absurdity of its main couple’s commitment to their “happily ever after” romance. Once it gets derailed into couples’ getaway weekend limbo, all that visual style and cosmic horror just evaporates. The talented cast of welcome faces—Paul Scheer, Kirby Howell-Baptiste, Natalie Morales, Charlyne Yi, Jon Daly, Breckin Meyer, etc.—becomes the main draw instead of the dark Twilight Zone surrealism, which is a real shame. There are plenty of other films where you could watch hipster comedians act like cruel, bitter assholes in a lavish locale. The early style and humor of Happily promised something much more conceptually and aesthetically unique.
And since there isn’t much more to say about the toothless hangout comedy that Happily unfortunately devolves into, I’ll just point to a few recent titles on its budget level that are much more emphatically committed to the biting dark humor of their high-concept, anti-romantic premises: Cheap Thrills, The One I Love, and It’s a Disaster. Those are good movies, and this is almost one too.