“The Bubble” hearkens back to similar skewerings of Hollywood, from 1999′s “Galaxy Quest” to 2008′s “Tropic Thunder,” but doesn’t bring anything new or especially satisfying to the genre, writes critic Nina Metz.
“At least we tried to make a movie, they can’t judge us for that,” a character says at the end of writer-director Judd Apatow’s newest comedy for Netflix. “We made something that’s a distraction in these difficult times.” I can only assume these words are a not-so-subtle effort to short circuit critiques — we’re grading on effort these days, are we? — from anyone puzzled by “The Bubble” and its halfhearted attempts to satirize Hollywood egos and moviemaking in the Age of COVID-19.
From left: Pedro Pascal and Keegan-Michael Key as co-stars enjoying some downtime at the hotel in"The Bubble." Clever wordplay is in short supply, but I did like the exchange between Gillan’s character and a soccer pro at the hotel, when her pandemic-hampered sex life becomes a thing they’re discussing without naming it: “Would you like to go to my room right now and just talk for a bit?” he asks. “I’d like to talk. I feel like I haven’t talked in a very long time,” she replies. “I’m a lot of fun to talk to,” he says. “I’ve just been talking to myself lately,” she almost mutters to herself.
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