In Maude Apatow’s directorial debut, “Poetic License,” which premiered at the Toronto International Film Festival, there’s a scene early on where Cooper Hoffman, playing an eccentric college senior with wealthy family background, considers creating a LinkedIn account. His friend, Sam (Andrew Barth Feldman), an economics student known for being more reserved, queries what Ari would write on such a profile. A moment of contemplation passes over Hoffman’s face, expressing curiosity, then confusion, concern, and finally satisfaction. Eventually, he decides against pursuing the idea, saying “Never mind.” Few actors demonstrate the nuanced character work between the setup and punchline of a joke like Cooper Hoffman does in “Poetic License,” establishing himself as one of them.
The film, titled “Poetic License,” centers around the theme of transformation. Incidentally, it hails from the cinematic universe spearheaded by Apatow, known for focusing on characters experiencing significant life changes (Judd Apatow is a producer, and Leslie Mann, his wife, stars in the movie). Ari finds himself lost and chooses to stop taking his antidepressants; Sam frets about moving directly from college into a monotonous and unsatisfying career at Morgan Stanley. Those around them are also undergoing change. In a poetry class at their university, they become smitten with Liz (Mann), who is auditing the course as a means to cope with her daughter Dora (Nico Parker) leaving for college after high school. Their professor, Greta (Martha Kelly), is going through a contentious divorce. Each of them delivers exceptional work, especially Mann, who secures the role she deserves, which Judd has been trying to create for years. This makes Hoffman’s stellar performance even more remarkable.
A significant portion of this is due to the screenplay penned by newcomer Raffi Donatich. The dialogue sparkles with quick-witted, rapid banter, and Hoffman often delivers the most memorable lines individually. At a certain moment, upon watching Liz drive away from the school’s parking lot, he turns to Sam and comments, “I appreciate a woman who can drive.” When Sam points out that it isn’t a common archetype, he retorts, “It is if you’re from New York.” However, Hoffman also infuses his character with an endearing, deceptive charm that’s reminiscent of Gen-Z Vince Vaughn – brimming with fast-talking sophistication but also overly sensitive for the world. In one of the early scenes with Liz, she notes that Sam and Ari have a unique bond, and he responds with youthful gratitude, “You’re remarkably insightful about what we share.” He accentuates his dialogue delivery by flashing his eyes and curling his lips into endearing half-smiles, which become increasingly frantic as the movie unfolds and his medication wears off.
Nearly midway through the movie, Ari and Liz discuss Ari’s choice to discontinue his antidepressants. Liz questions him on the safety of such a move, and Ari explains that he is unbothered as he believes the medications are dulling his “vibrancy.” This scene is meant to be comical: one might wonder how anything could dampen this character’s vivacity. It’s a testament to Hoffman’s acting skills that he successfully conveys this humor.
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2025-09-08 23:53