The Debut review: Julianne Moore becomes an Oscar contender with Jesse Eisenbergs outrageous theater farce

Few things in the history of cinema are as consistently satisfying as watching Julianne Moore let loose a barrage of curse words. Be it her saucy adult film star in Boogie Nights, her Transatlantic-accented artist in The Big Lebowski, her shattered trophy wife in Magnolia or its playful recreation on Billy on the Street, Moore can make the most out of a four-letter word. Now, in the bouncy yet twisted comedy The Debut, she lays out her most hilarious litany of expletives yet. But that's just one reason you can't miss her latest. 

As a follow-up to his Academy Award–winning movie A Real Pain, actor turned writer/director Jesse Eisenberg offers a follow-up that's even funnier and more ferocious. The Debut stars Moore in a mousy role that might recall her work with Todd Haynes at first. But as Eisenberg's hilarious send-up of theater culture gains steam, this comedy pitches Moore into a satirical space where she soars in absurdity. A bellowing Paul Giamatti is her perfect scene partner, and it's easy to imagine both are readying for an another award season run. 

What is The Debut all about? 

Distributed by A24, The Debut centers on Mona Friedman, a New Jersey housewife so introverted she's practically invisible to her husband and teen twins. With her nest about to be emptied by high school graduation, Mona's eager to find a new place to devote her attention, and maybe even get some of her own. So, the auditions for the local university's production of an New York City-set musical farce called Nosy Neighbors seems an absolute dream. 

Approaching the audition with all the stage presence of a damp napkin, Mona earns only a sneer from the director Jerry (Giamatti), who is regarded as a god by the jubilant, nattering theater kids, led by ingenue Stef (Halle Bailey). But when regional theater legend Serena Cherry (Bernadette Peters, popping in to belt her heart out) bails on the production, Mona will have a chance to make her big debut — if she doesn't ruin her life first. 

With a frantically farcical tone reminiscent of Only Murders in the Building, Eisenberg's comedy has elements of a psychological thriller, as Mona's quest to understand the role of building super Miss Danielle leads her to a version of method acting that is utterly deranged. Jerry becomes her antagonist and an unhinged ally in this pursuit, pushing her to understand the unwritten backstory of the super through urban field trips and outlandish escapades. Together, these rightfully esteemed dramatic actors prove to be a crackling comedy duo, imbuing each scene with a savage earnestness and laughable absurdity. 

The Debut is an absolute crowdpleaser. 

Ahead of its theatrical release, The Debut premiered at the Telluride Film Festival, then the Toronto International Film Festival, and the New York Film Festival. An NYC crowd will surely go wild for Eisenberg's musical-within-the-movie, which parodies urban archetypes like the lonely finance bro, the naive new girl in town, and the surly super. However, the audiences in Toronto roared with laughter and even cheers over his send-up of theater culture, which includes an overzealous intern (Eldar Isgandarov), a much-tread-upon assistant (Susan Blommaert), a two-faced pianist (K. Todd Freeman), and an avalanche of giddy, over-the-top enthusiasm for their newest member. 

The screenplay is smart and irreverent, without losing touch with empathy. So, while we witness Mona descend into madness as she chases the dream of the local theater spotlight, we cringe in fear that she'll fail. This is in no small part due to Moore's ability to be a clown and a raw nerve, all at once. She marvelously plays a bad actress, moving from a stifled whisper to an atonal shout as Mona fumbles a lesson on projecting. Then, as she becomes determined not just to shine but to upstage the whole ensemble, Moore plunges into physical comedy involving janky plumbing, horrendously awkward dancing, sketchy hotel rooms, dubious binge-drinking of a booze called "monkey blood," and a makeover that is so atrociously awful that I couldn't look away. 

Alongside her, Giamatti transforms from Mona's tormenter to mentor to overwhelmed wrangler. The cast around her varies in portrayals from bubbly to bewildered, each adding dimension to this Sunset Boulevard send-up, ignited by a brilliantly saturated color palette of reds, teals, and golds. This brightness in tone and color reflects Mona's resolutely cheerful facade. As her journey grows dark, the visual contrast keeps the comedy playful. 

All of this energy, charisma, chaos, and color barrels into a climax that is jubilant, odd, and undeniably exhilarating. Eisenberg not only captures the unfettered outrageousness of being a theater kid, but also the thrilling spontaneity of live theater. Moore, who previously starred in his muddled directorial debut When You Finish Saving The World, shines in The Debut, expertly delivering comedy with a steady stream of desperation. Giamatti brings grit and grumble, as might be expected, but with a salty vulnerability that surprisingly sweet in the third act. Altogether, they create a movie that's not only hilarious and cringe-inducing, but also brilliantly life-affirming. Don't just see it. See it in theaters, where you can be swallowed by the raucous laughter of strangers. 

The Debut was reviewed out of the Toronto International Film Festival. It will open in theaters on Dec. 11.