When it comes to the subject of representation, inclusion doesn’t only mean a place at the table in terms of the more serious, sobering stories, but also those that tend to be a lot more vibrant, with comedy being one of the final frontiers when it comes to mainstream inclusivity, primarily because it is a genre that has been notoriously formulaic, at least in terms of mainstream offerings. This doesn’t mean that there hasn’t been an abundance of terrific comedies produced over the years that capture our attention, but rather that there has been a major deficiency in having leads that are drawn from other demographics, which has been gradually resolved over the past few years. Adele Lim has already made a name for herself as a writer in both film and television, so it made sense that she would eventually venture into filmmaking, with her directorial debut being one of the year’s best comedies. In terms of both story and style, Joy Ride is an absolute riot, an upbeat and charming film that is not afraid to be controversial in some places or lean into its inherent raunchiness, because while it may not always be to every viewer’s taste, there is always room for mainstream efforts that look at under-represented groups, giving them the chance to have stories made about their experiences without it being overwrought or incredibly dense. Focusing on the exploits of four Asian-American women who venture to China for a variety of reasons (mainly for one of the characters to close a business deal, while secretly searching our her birth mother), the film is an outrageously funny and oddly tender examination of the world as seen through the eyes of a very distinct cultural group that has not had much exposure in the form of mainstream comedy, at least not on the same level as some of their counterparts, which is what Lim seems to be aiming to explore with Joy Ride, a film that does not take itself too seriously, but has firm respectfulness that is nothing if not thoroughly admirable. Funny in a way we may anticipate, but featuring a heartfulness that may come as something of a surprise, Joy Ride is a real delight and one that has a solid grounding in reality, which is more than enough to make up for some of the more predictable moments.

Friendship is a peculiar theme when it comes to storytelling, and art has always had quite a unique interest in exploring the bonds that form between people who are not related in the traditional sense, but yet find a kinship, whether in their formative years or later in life. Joy Ride makes it very clear from the start that it is primarily focused on exploring the relationships between these four women, each one a distinct character that has their own individual quirks which would initially make us wonder why they could ever be compatible in the first place, and over the course of the film we learn the deeper connections that truly do bind them together. In order to do this, Lim does arguably resort to some of the more obvious cliches that come with forming such a story, making use of common themes and tropes that we would expect to find in such a film – she never promised that what she was doing was entirely original, which is at least understandable to a certain extent, especially since the approach she takes is still very entertaining. Stories about friendship usually only work when we wonder how these characters could possibly be friends, which is the source of a lot of the humour – unlike in reality, where similar people tend to gravitate towards each other, cinematic friendships work best when we have characters that are almost opposing each other to the point where it seems like most of the story is about them trying to set aside their differences, since similarity can prevent the necessary tension that is so important for humour. It’s a recipe for exceptional comedy, and if we are able to suspend disbelief (which is the responsibility of the director to facilitate), it can make for enthralling viewing when done correctly. The humour is extracted from obvious places, but it is entirely convincing, and how Lim moves through this story, which gives us the appropriate level of detail in terms of defining each of these characters without becoming overly reliant on exposition, aids in ensuring that we are able to get on this film’s wavelength and surrender to the deceptive charms that form the foundation of this terrific story.

However, the reason that Joy Ride is so successful is not because of its humour, but rather what it does with it, which is often quite important in understanding why certain comedies tend to be more effective than others. It would have been too easy to construct a film that was simply wall-to-wall jokes, without anything of value inserted between them, and while this may have made for a more hilarious experience, it would have overlooked one of the key components that drive this film, namely the beautiful story of culture embedded deep within the narrative. As much as we may cackle at the vulgar humour, it is the more intimate moments that form the foundation of the film, and which prevent it from being viewed as entirely lowbrow. There is a sensitivity to how this film approaches culture that could only be possible from someone who comes from such a background, and as an Asian-American woman, Lim was perhaps the best authority in exploring the experiences of this particular group, both in terms of how they navigate the world, as well as the inner turmoil they feel when they stand at the proverbial crossroad between two cultures. This ultimately leads to an insightful, compelling discussion in which this film explores identity, focusing on the efforts of these four women – all of whom have different personalities and ambitions – to make their way through the world, questioning their surroundings and learning some of the harsher truths that come about in the process. It’s an unexpectedly humane film, and every moment is filled with complexity and nuance, enough to make up for some of the more predictable scenarios that pad the film, rather than define it. It feels like Joy Ride is touching on something much deeper and more profound than we’d initially expect, and the director’s masterful control of the filmmaking process is incredible, her efforts to evoke something much more compelling out of a relatively conventional comedy not going unnoticed, as it becomes the primary reason this film is so remarkable.

When making a film like Joy Ride, the producers are confronted with a very clear choice – either populate the film with well-known actors that may not be perfect for the roles, but are recognizable enough to draw in audiences, or take a chance and cast people who may not be entirely obscure, but haven’t attained the level of esteem that would immediately qualify this film as being of interest based purely on its cast. Lim made her choice quite clear, and I anticipate that this will be the first time many of us have encountered most of these actors unless we have been paying attention to some of their other work in previous years, which is likely but not a guarantee. The two most recognizable actors here are Ashley Park, who has been doing solid work in supporting roles for a while, and Stephanie Hsu, who has recently achieved global acclaim for her scene-stealing work in the cultural sensation that was Everything Everywhere All at Once (although the radical success of that film had not yet happened when she took the role here, which makes her performance as a self-centred movie star striving for fame all the more hilarious in hindsight), while Sherry Cola and Sabrina Wu prove to be incredibly talented young actors who are undoubtedly going to have their breakthrough with this film, which is especially notable considering they are playing the characters that would most commonly be viewed as the one-dimensional comedic relief that is built on stereotypes – namely the overly vulgar best friend and the introverted, socially-awkward nerd respectively – but rise above these aspects to become something far more intriguing. A film like Joy Ride is only going to work if there is chemistry between the actors, and there is certainly not any shortage of this when it comes to this cast, who are truly terrific. There aren’t too many scene-stealing supporting parts, with the focus being on this central quartet, which allows Lim to explore each one in detail, working closely with the actors to develop their characters along consistently interesting lines, rather than just having them be archetypes.

There are many aspects of Joy Ride that are worth discussing, particularly in how this perfectly balances being a raunchy, over-the-top comedy with a more tender, emotional complexity that is quite unexpected, but certainly not unwelcome. Few films have lived up to their title quite as much as this one, since it seems very difficult to watch it and not feel a pounding sense of gleefulness at seeing these hilarious characters placing themselves in increasingly strange situations, from which they have to escape in order to maintain their dignity, and perhaps even what remains of their sanity after this sprawling, exciting adventure. It is a film that intends to break the rules, which is entirely expected, and ultimately results in the story being as conventional in structure as every other raunchy comedy, but it is in this very tendency to follow a specific formula that we can see the brilliance of the film, since the director is actively using conventions to subvert and challenge how we view these stories, looking at deeper themes in between outrageous moments, which serve to entertain and provoke in equal measure. It’s very simple but it has a lot of hidden nuances that we don’t start to notice until we overcome the initial novelty, and start to see just how profoundly moving this film manages to be with restrictions, both in terms of time (we get so few broad comedies that clock in at 90 minutes these days) and the genre, which it was aiming to still honour despite trying to go in its direction. As a whole, Joy Ride is a terrific, meaningful film with a lot of heart and even more charm, which is constructed with such invigorating honesty and deep compassion for its characters. One of the year’s funniest and most heartfelt films, this announces Lim as a major new comedic talent, introduces us to some tremendous actors that are undoubtedly going to be stars in the future, and takes us on a thrilling journey that is filled with hilarity and suspense, which is exactly what we’d expect from such a film, and which it is all too happy to deliver.