“Though Trainwreck is a robust comedy, ranging from genial to zingy to uproarious, it’s essentially a romantic melodrama of self-abasement, self-deception and self-discovery. Its subject is the proximity of pleasure and pain, of self-affirmation and self-doubt. Its resolution involves love, which, in Apatow’s view, is no renunciation or simplification, but just another mode of difficulty, a kind of fulfillment that emerges from characters who are already formed and who merely put themselves and each other to new tests.
“The bare bones of the story, even the meticulous recounting of the plot, doesn’t come close to conveying the richness of the movie, moment by moment — the sharpness of the perceptions, the surprising turns of dialogue and mercurial flashes of performance, found in the characters’ glances (captured avidly by Judd Apatow’s perceptive camera, wielded by the cinematographer Jody Lee Lipes) and acting.” — from a 7.17 review by The New Yorker‘s Richard Brody, a.k.a. “TinyFrontRow.”