HG Prime

Talking to the Moon

Sex After Kids

A film by Jeremy Lalonde.

A film stolen by Jeremy Lalonde’s baby girl.

I was lucky enough to attend a screening of the film Sex After Kids at the Royal House Theater on January 11th along with the film’s director, producer, many of the cast and crew, contributors, and fans. To be fair it was a film friendly audience, but also in the crowd were a few who went in with no investment in the movie at all and from them I found they had the same reaction as did the fans: it was hilarious.

The movie would be categorized as a comedy. But what does that really mean? According to Wikipedia, (the source of all knowledge, right?), a comedy is, “to amuse and elicit laughter from the audience.” Check, check, and check. Then it goes on to list a series of types and Sex After Kids doesn’t exactly fit any of them. It’s a bit of a romantic comedy, but also fits some of the criteria to be considered a “black comedy” except, quite frankly, it’s too sweet and earnest for the way it tackles the ‘taboo’ subjects to fit into that category completely.

It’s a similar to ensemble comedies such as Home for the Holidays, Beautiful Girls, and Something’s Gotta Give but the cast is loosely affiliated yet connected like in such movies as Love, Actually or New Year’s Eve. So I’d like to propose a new category. Since it’s an assembled ensemble comedy I suggest: Assenembled comedy. New phrase! You heard it here first.

Sex After Kids gathers a fantastic cast of six-degree-separated parents as they deal with relations after having kids. In some cases the issues raised are 20 years after the birth of their kids. It’s like a coming of age story for adults about a time in life no one ever seems to talk about. There are so many (too many?) movies about twenty-something brats transitioning from college life into being an actual adult. But what about everyone who has done that, since life doesn’t stop once you give up keggers, settle down, and have a family.

I thought the movie was funny, honest, even if some of the situations were “exaggerated for comedic effect” (thanks Wikipedia!) and ultimately sweet. Amanda Brugel is my new hero. Zoie Palmer and Paul Roger Amos made me cry. And Kris Holden-Ried did that thing where at one point he says a line but turns that line into a whole story. Also, it looked beautiful, the locations felt authentic to each character and not overly staged. And although the movie didn’t get into much detail about each character I still felt that we got a full sense of who everyone was as people.

I wish I could sum up the movie easily, but it’s actually the type of movie that after you see it for days later you and your friends will be talking about various scenes and laughing again as you go through the funniest bits you can recall to the ones you suddenly remember again.