The Humans

Stephen Karam's directorial debut is anchored by strong performances and an uncomfortable atmosphere

Keeping with the trend of dialogue/character driven films set in the confines of one location following movies such the fiercely funny “Shiva Baby” and the emotionally powerful “Mass,” Stephen Karam’s directorial debut “The Humans” is the latest entry in the genre. Based off the Tony-winning Broadway play written by Karam, the film features a compelling ensemble of actors from Academy Award nominees Richard Jenkins, Steven Yeun and June Squib, two actresses who are more known for comedic roles in the form of Amy Schumer and Beanie Feldstein and Tony-winner Jayne Houdyshell, reprising her role from the stage production.

Set in the confines of a crummy and deteriorating apartment, “The Humans” focuses in on the Blake family. Brigid (Feldstein), the youngest daughter who has recently moved into the ratty New York apartment with her older boyfriend Richard (Yeun), much to chagrin of her parents, has volunteered to host the family’s Thanksgiving dinner. Erik (Jenkins) and Deirdre (Houdyshell) have hit a rough patch in their marriage, Erik’s health is starting to falter as he’s losing sleep at night and having startling dreams while also having to take care of his ailing mother Momo (Squib). Aimee (Schumer) recently had to undergo surgery and is still struggling to come to terms with her breakup from her longtime girlfriend.

“The Humans” is not a story driven movie, but much more character and dialogue driven. It’s appropriate that the film has Broadway origins as it essentially functions as a play along with being a feature film. Karam does add some cinematic aspects to the movie, why the apartment itself is not much to look at, the playwright turned filmmakers portrays it as a haunted house without any ghosts. While there are a handful of comedic moments, primarily Yeun’s Richard trying to explain his strange dreams in an attempt to connect with Erik, there is still a feeling of discomfort and uneasiness over the course of the runtime. “The Humans” even has it’s fair share of jump-scares, which prove to be genuinely effective for the most part.

Much like “Mass” and “Shiva Baby,” “The Humans” makes the audience feel as if they are a fly on the wall, watching everything unfold. Despite the theatrical atmosphere, Karam’s script and the ensemble never aim to be melodramatic, instead their performances each feel grounded and personable.

Jenkins is the standout of the cast, with a performance that could be the film’s best chance for some Oscar recognition. Jenkins brings a combination of tenderness and cynicism to the role of Erik and acts as the audience’s guide through the film. He opens the film as well as closes the film which furthers the impact of his work. Schumer and Feldstein are also excellent in their roles, channeling more melancholic characters as opposed to the manic energy they brought to films such as “Trainwreck” and “Booksmart.” Yeun is a scene-stealer as Richard, despite his character being the only one not related to the rest of the cast, he perfectly captures the feeling of a family outsider trying to please his potential in-laws. Houdyshell is strong in her role, portraying the brokenness of Deidre and as well as the strength of her Christian faith. Squib, while not having as much to do as her co-stars, is heartbreaking in her role as Momo. While Squib has typically channeled that snarky old lady energy in films like “Nebraska,” here she plays a woman in one of the final days of her life. She’s the film film’s quiet heart.

Not everything in “The Humans” works. The ending of the film feels abrupt and anti-climatic and while this may have been intentional, it made the film end with more of a whimper than a bang. The film also has plenty of strong and impactful themes and it would surely require multiple viewings to grasp them all, alas the film is so emotionally draining, it would be hard to see why anyone would want to go back for rounds 2 and 3.

“The Humans” makes the most of it’s small scale and relies on the strong direction, writing, and acting to carry this play turned film. It is far from an enjoyable watch, but it is surely an impactful one.