Joy Ride Review by Marc Primo

Since childhood, Audrey and Lolo formed an unbreakable bond as two of the few Asian Americans in a predominantly white town in the Pacific Northwest. Their friendship became a source of strength, supporting each other through school, careers, and the consequences of their choices.

Now, Audrey, an ambitious associate at a law firm, faces a life-changing promotion. Her boss sends her and Lolo, the embodiment of chaos, to China to finalize a significant business deal. Together with friends Deadeye and Kat, they embark on an unforgettable journey that delves deep into questions of identity and self-discovery.

Throughout this captivating adventure, Audrey and Lolo learn what it means to stay authentic in a challenging world.

In her remarkable directorial debut, Adele Lim fearlessly embraces audacious risks in the ribald comedy "Joy Ride." The film delicately balances poignant inquiries about belonging with outrageous jokes that provoke astonishment. Lim, along with co-writers Cherry Chevapravatdumrong and Teresa Hsiao, surpasses the shenanigans in Malcolm D. Lee's "Girls Trip." Undoubtedly, the cast of "Joy Ride" surpasses the level of outrageousness, but the effectiveness of such boldness depends on each viewer's tolerance for risqué humor.

Despite its uneven tone, "Audrey's Search" provides a delightful mix of humor and awkward situations. Audrey's quest to find her long-lost mother, along with the group's encounters with a traveling basketball team, ensures a constant stream of jokes and comical scenarios.

Paul Yee's cinematography adds to the film's whirlwind experience, seamlessly transporting viewers from Audrey and Lolo's mundane hometown to vividly animated sequences of the group's K-Pop fantasy number. Along their journey, they encounter misty country roads, expansive rivers, bustling cafes, and dimly lit clubs. Each scene is richly depicted, offering stability amidst the story's fast-paced nature.

Beyond crude humor, “Joy Ride” also pokes fun at Audrey’s identity crisis, using it as a springboard for pointed self-criticism and sharp cultural commentary. One of the movie’s sharpest sequences occurs when Audrey is fooled by a white American, a drug dealer desperate to hide her goods. She initially trusts her fellow American at the expense of sitting with other Chinese passengers and puts the group in an even more precarious situation because, as Lolo puts it, Audrey is prejudiced against people who look like her. There are many little introspective moments throughout the movie, like when they land at the Shanghai airport; Audrey notes what a different feeling it is for her to no longer be in the minority. There are even more observational jokes about missing out on a country’s traditional cuisine or speaking the language when you grew up outside the culture. These one-liners and observations throughout “Joy Ride” give a more nuanced sense of humor to the quips about random sex acts and ill-advised tattoos.

"Joy Ride" features a stellar cast, a crucial element for ensemble movies. Ashley Park and Sherry Cola anchor the story with their captivating dynamic, evolving as they navigate self-discovery. Park flawlessly portrays the ambitious high achiever, flaws and all. Cola's seemingly calm demeanor unintentionally stirs up conflicts, driven by her eternal optimism. Sabrina Wu's Deadeye and Stephanie Hsu's Kat add complexity. Deadeye's unpredictability and deadpan expression create connection barriers, while Kat's troubled past haunts her as she strives for change.

While "Joy Ride" may not be flawlessly cohesive, Lim's film is a delightful blend of fun and chaos. It strikes a mostly light-hearted tone, yet occasionally delves into profound explorations of identity and friendships. The cast fully embraces the outrageous antics, reveling in the freedom to misbehave and push the boundaries of raunchy comedy. Amidst its unpredictable twists and turns, "Joy Ride" unapologetically remains true to itself and the central friendship that sets us on our merry misadventure.