While comedienne Amy Schumer is bringing her crass female persona to the cineplex in the movie Trainwreck, liberal movie critics are upset she doesn't stay in a glorious rut of one-night stands and cynical bitterness. They dislike Judd Apatow's "too conservative" tendency for happy, loving endings. They start with edgy trappings and end in (shudders) "moral decency."
In Time, Lisa Schwarzbaum announced “In the way of most Apatow films, Trainwreck is a little too long, a little too shaggy, and a little too conservative in insisting that all’s square in love and war.”
In The Washington Post, Ann Hornaday loved the movie, but “Trainwreck ends on a triumphant but also ambivalent note....But, its nod to health and newfound maturity notwithstanding, it also feels like a wholesale – and unnecessary – capitulation.”
But Anthony Lane of The New Yorker is a hoot in just hating the decency of it:
Are there any modern comedies that hold their nerve, and pursue their radical options to a bitter end? More than eighty years ago, the censor Joseph Breen was so appalled by the carnal candor of Barbara Stanwyck, in Baby Face, that he strong-armed Warner Bros. Into cleaning up the ending and teaching the heroine a lesson, but Breen would not be needed these days. Those a movie like Trainwreck sounds filthy, it cleans itself up as it goes along – setting off at a rough lick, yet soon displaying signs of moral decency.
