I think this movie had so much great stuff working for it that the not-so-great parts of it stick out like a sore thumb. First, let me tell you how much I appreciate Judd Apatow. Although I think all of his films could be improved by editing down the number of times the characters reference their genitalia, as a director he continues to bring fresh, original and witty stories to the screen. Although others may lump them together with other man-child movies, Apatow’s work stands out in the genre because of his insistence on digging deeper than the one liner and developing real characters. And I think “Funny People” features his best character work yet.

The movie delves into the behind-the-scenes life of comedy on both the famous level and the trying to break-in level. Seth Rogen plays Ira Wright, a deli worker who wants to be the next Seinfeld, resentful that his friends are beginning to succeed in the business. Adam Sandler’s character, Geroge Simmons, seems transparently autobiographical in the beginning – a Hollywood star whose work Rogen’s generation has grown up with. I loved that the film paid homage to the work of stand-up comedians. The numerous celebrity cameos (most of whom show up looking a little grayer and older than we remember them best) enhanced the generational theme – the rites of passage in the life of a comedian.

The heart of the movie is where the comedy gets thin and the characters really develop. George is diagnosed with a rare and deadly blood disease, causing him to re-evaluate his life. Sandler shines as a guy who everyone likes but who has no real friends, until he hires Ira to be his assistant. Ira has to walk the delicate line between friendship and employee – never sure which role is he playing at the moment. Apatow explores grown-up friendship in a way rarely seen Hollywood.

The movie, unfortunately, gets bogged down in the side-plot of George rekindling his romance with his ex (Leslie Mann), who is now married (to Eric Bana) with 2 kids. On its own, I liked how they dealt with the idea of “the one who got away” and what if you had a chance to do it again, but it wasn’t on its own, and as part of a larger movie it didn’t work. In many ways it felt like two related works being forced together into one film. Which is what is so disappointing – with better editing this could have been one of the stand-out movies of the year.