Any wine country is commonly known as a place of a few defining features, regardless of where you are in the world – beautiful scenery, serene surroundings and a lot of drunken people often causing a ruckus. This was the primary leaping point for Wine Country, the debut feature film by comedic iconoclast Amy Poehler. A gloriously subversive comedy that sees Poehler working alongside some of her fellow Saturday Night Live alumni in a film that may not shatter boundaries or break any new ground, but rather stands as an entertaining and often very unique comedy about a range of topics – friendship, work, health and aging, as we see a sextet of women coming into contact with a number of other unique and idiosyncratic characters as they undertake a journey, both physically and emotionally, battling their own personal quandaries, addressing their past choices and getting extremely tipsy on the finest wines the Napa Valley has to offer to a group of outrageous middle-aged women who are there for a good time, not a long time.

Abby (Amy Poehler) has just lost her job – but she isn’t telling anyone this, especially not her group of close friends that are soon to reunite to celebrate the fiftieth birthday of Rebecca (Rachel Dratch). Abby has planned a wild getaway to the Napa Valley for her and five of her friends, including doting mother of four Naomi (Maya Rudolph), the free-spirited Val (Paula Pell), the worrisome Jenny (Emily Spivey) and successful entrepreneur Catherine (Ana Gasteyer). They have a fun weekend planned, all facilitated by Abby and her incessant need to be in control – and what starts out as being a great bonding excursion for the old friends, and a chance for them to finally spend quality time together after going their separate ways and leading their own individual lives, eventually turns into anarchy, as the tension present in their friendship prove to be incompatible with their own hidden insecurities and debilitating anxieties about a number of personal issues, and their decades-long friendship is put to the test by a blend of vitriolic criticisms and immense cabin fever, all of which play out like a twisted tragicomedy over their three days and nights in wine country.

In all honesty, Wine Country is hardly anything groundbreaking – but it would be difficult for any fan of contemporary comedy to resist this. Amy Poehler has already established herself as a comedic force to be reckoned with, and taking on this project as her directorial debut was a smart move – it allowed her to venture into the world of feature filmmaking without taking any unnecessary risks, opting to rather make a simple but meaningful comedy that plays to her most significant strengths, and those of her co-stars and creative collaborators. This film is an easygoing, entertaining and diverting experience, something that shouldn’t be taken too seriously, but also enjoyed with full vivacity – much like the wine consumed in excess throughout this film, Wine Country is bold, relaxing and with very little nutritional value, but that doesn’t mean it shouldn’t be enjoyed on its own merits. Poehler, working from a script written by co-star Emily Spivey and Liz Cackowski, makes a really terrific film about friendship that often overcomes its slight vapidity and flourishes into a tremendous weekend diversion of a film, and while it does have its flaws, its difficult to not be utterly charmed by this really special gem of a comedy.

Wine Country features a group of comedic actresses gathered together to make a film that is the fever dream of any comedy devotee. At the helm, both in terms of directing and taking the central role, is Amy Poehler, who sheds her upbeat Leslie Knope persona from Parks and Recreation and takes on a far more nuanced (but no less funny) character of Abby, who wants nothing more than to just give her friends a great weekend away – but when we discover that it isn’t only because she’s a good friend, but also mainly due to her attempts to cover her own personal struggles with excess in the hopes of feeling in control, her character takes on a whole other layer. Poehler is not only a great comedic actress, but she is also a chameleon, having chemistry with everyone she collaborates with, playing off their strengths to supplement her own performance and in the process bolstering everyone around her. The cast of Wine Country seems to be almost symbiotic – they feed off each other’s unique personalities and individual comedic traits, creating a memorable ensemble that is as endearing as it is hilarious. Maya Rudolph just can do no wrong, and whether in the moments of broad comedy or quiet sincerity, she proves herself to be a remarkable actress, regardless of the material she is given.

Ana Gasteyer was one of Saturday Night Live‘s most remarkable assets during the late 1990s and early 2000s, and despite her considerable talents, she has often been relegated to supporting roles in film and television. Wine Country gives her the showcase she deserves, and while she is only one of a relatively large ensemble, her moments are sincere and brilliant and makes it even more evident that she is in dire need of better work to match her extraordinary talents. Rachel Dratch is also at her most endearing, taking a brief hiatus from playing oddballs to portray someone ordinary, but also extremely lovable. Rounding out the ensemble, Paula Pell is a riot, and co-writer Emily Spivey shows herself to be perfectly capable of keeping up with her co-stars, all of which are comedic veterans. Tina Fey has a small but pivotal role outside of the main cast, and while she isn’t present throughout most of the film, she is an absolute scene-stealer, and she may give one of my favourite performances of the year, and certainly her very best since 30 Rock ended.

Here is an almost shocking question – considering Wine Country featured a cast of comedic icons and people who have made their living in the business of making people laugh, why was this film not funnier? This isn’t to suggest that Poehler made a bad film, nor that this film is unfunny in any intentional way. Rather, I expected a film gathering these comedic veterans would’ve been a lot more outrageous. There is an abundance of hilarity present throughout the entirety of the film, and there is no shortage of laughs to be had at any given moment. Yet it is clear that this film was the brainchild of a group of individuals more versed in sketch comedy and sitcoms – Poehler and the writers were clearly used to shorter and more impactful doses of comedy, and in order to construct a coherent film, there needed to be added conflict. If this film had been a bombardment of hilarity, or at least the kind we have grown accustomed to expecting from these women, it would’ve not only been far too excessive but also prevented the more tender moments of this film from occurring.

Make no mistake – Wine Country is a very funny film. But it is also a film filled with heart. It addresses a variety of themes, many of which aren’t explored properly (or even at all) in shorter formats. The main underlying theme is that of friendship – we all make friends throughout our lives, and in our earlier days of foolish naivete, we think they’ll last forever. Even if the love remains, everyone grows and becomes their own person. Wine Country addresses precisely what happens when, after two decades, a group come together again and hope for the same exact magic as before, only to be heartbroken when it fails to materialize. Other themes include that of ageing – what starts as a joke eventually transforms into a meaningful commentary on embracing the future and not being afraid of it. As the cliched but relevant adage does, “growing old is mandatory, growing up is voluntary” – and there is no better representation of such a concept as this film, which is made by a group of comedians who are just having a good time, but not avoiding the important discussions that need to be had. Truthfully, the film doesn’t resolve all of the plot threads it puts down, but it doesn’t need to, because ultimately, this film is nothing more than a good time, with some seriousness thrown in for good measure.

Truth be told, Wine Country is exactly what it promises it is – it is nothing more than a group of middle-aged women venturing into the heart of the wine industry, drinking a lot of wine, raising a lot of hell and enjoying each other’s company, all the while dealing with internal tensions and outward conflicts. Wine Country doesn’t veer off into anything other than what the viewer would expect – and it is certainly a film made for the audience member who stumbles upon it on a particularly lazy day, or someone like me, who relished at the opportunity to see some of my comedy heroes interacting for an hour and a half. There isn’t a great deal more to this film, but there doesn’t need to be. Its perfectly inoffensive, endearing and lovable entertainment, a comedy that touches upon some serious subjects without becoming dour, and a wonderful directorial debut for Poehler, who sticks to something within her wheelhouse, but proves herself to be capable of even more. Wine Country is a terrific film and a really tremendous way to spend an afternoon. When we are in need of some escape from life’s idiosyncrasies, why not allow this sextet of brilliant women to bear the brunt of your worries, and just enjoy something designed not only to make you laugh but to feel the pleasant comfort that comes with a great heartwarming comedy? It certainly is worth it, I’ll tell you that much.