‘Bad Shabbos’ Is a Perfectly Orchestrated Comedy of Errors That Keeps the Laughs Coming

In Bad Shabbos, Daniel Robbins serves up a Shabbat dinner unlike any other—where a prank gone wrong, bad decisions, and even worse luck spiral into a full-blown comedy of errors that’s as chaotic as it is hilarious, proving just how far we’ll go for family (for better or worse).

Before the chaos begins, the dark comedy opens with a definition of “Shabbos”—a time of rest from Friday night to Saturday night, typically spent with family. It’s a simple yet effective introduction, welcoming audiences who may not be familiar with the tradition while subtly diverting expectations about what’s to come. Any sense of peace is immediately shattered as a body plummets from a building—only for the film to rewind, unraveling the series of missteps that led to this moment. Eli Keszler’s score mirrors this shift, beginning with a meditative calm before steadily building, amplifying both the tension and absurdity as events spiral out of control.

From there, director and co-writer Daniel Robbins transports audiences to a picturesque, serene evening on the Upper West Side, where newly engaged interfaith couple David (Jon Bass), who is Jewish, and Meg (Meghan Leathers), who is Catholic, are preparing for Shabbat dinner. On the surface, they appear composed, but woven into their everyday conversations are small, nervous check-ins—Meg asks if she’s pronouncing “Shabbos” correctly, while David makes sure she’s given her parents a heads-up about what to expect. The weight of the evening is unmistakable—this isn’t just any Friday night dinner; it’s the first time their families are meeting, and both feel the pressure to make it perfect. For Meg, that means trying to win over David’s mother, who isn’t shy about voicing her disapproval of their relationship, while David braces himself for his lively, unpredictable family—who, regardless of the occasion, have a way of turning even the simplest gathering into something far more complicated.

As we begin to meet David’s family, we understand his concerns. Dysfunctional doesn’t even begin to cover it—each member brings their own brand of unpredictability to the evening. At the center of it all is his mother, Ellen (Kyra Sedgwick), a woman deeply rooted in tradition with a firm way of doing things—and no hesitation in making her disapproval of David and Meg’s relationship known. Sedgwick is brilliant in the role, delivering cutting remarks with absolute certainty and reinforcing them with piercing glares that say just as much as her words—even going so far as to claim she needs to mourn the loss of her son after David reveals the engagement.

David’s father, Richard (David Paymer), is far more easygoing, though not always helpful. Lovable and well-intentioned, he has an insatiable enthusiasm for self-help books, which Paymer brings to life with undeniable charm. That passion becomes particularly comedic when he starts applying self-improvement acronyms and life lessons to an entirely different kind of crisis—disposing of a body.

David’s sister, Abby (Milana Vayntrub), is the only daughter in the family, a role that often puts her in charge of keeping her brothers in check. Vayntrub delivers a standout performance, effortlessly blending exasperation, dry wit, and genuine affection, making Abby both the voice of reason and a source of some of the film’s biggest laughs.

The youngest brother, Adam (Theo Taplitz), is the odd one out, marching to his own beat in a family that never quite knows how to handle him. As the baby of the family, he’s treated as such—whether he likes it or not. His quirks make him an easy target for Abby’s boyfriend, Benjamin (Ashley Zukerman), who fully leans into his role as the smug corporate New Yorker, never missing a chance to condescend, insert his opinion, or get under Adam’s skin just for the fun of it. Their rivalry escalates throughout the night, setting off a chain of events that pushes Adam further into the spotlight. Taplitz plays him with just the right balance of awkwardness, defiance, and frustration, knowing exactly how far to push Adam’s reactions to make each moment land—whether it’s for comedy, tension, or both.

Rounding out the cast is Cliff “Method Man” Smith Jr.—yes, Method Man!—as Jordan, the apartment building’s doorman who is as ride-or-die as they come. Willing to do anything for the family, Jordan finds himself roped into their scheme, even disguising himself as an Ethiopian Jew in one of the film’s most outrageous moments. Method Man is a major surprise in the role, lighting up the screen and delivering laugh after laugh with the conviction he brings to the character.

John Bedford Lloyd and Catherine Curtin play Meg’s parents, John and Beth, who arrive after things have already spiraled out of control and immediately sense that something is off. John, more straight-laced and skeptical, watches the evening unravel with a raised eyebrow, increasingly wary of the family’s unorthodox rituals and antics. Beth, on the other hand, brings a warm maternal presence, eager to lend a helping hand—only to be repeatedly shut down in ways that grow funnier each time. Lloyd and Curtin play off each other brilliantly, adding another layer of tension (and comedy) to an already spiraling night.

There’s a reason Bad Shabbos—winner of the Tribeca Audience Award in 2024—works as well as it does. Director and co-writer Daniel Robbins, co-writer Zack Weiner, and producer Adam Mitchell lay the foundation for an ensemble that fully inhabits their roles, ensuring that even with such a large cast, every character feels distinct, and no performance is wasted. You’re never left questioning a character’s purpose or feeling as if an actor has been sidelined—each role serves a function, and every moment adds to the film’s intricately woven comedy.

A major part of what makes the film so compelling is how effortlessly Robbins and Weiner capture the nuances of this family. From generational divides to varying degrees of religious observance, their writing reflects a keen understanding of these dynamics—balancing humor and sincerity in a way that feels both perceptive and authentic. This thoughtful approach ensures Bad Shabbos resonates with a wide audience, whether viewers recognize these traditions or are encountering them for the first time.

Yet, as the evening spirals out of control, it’s Robbins’ direction that holds everything together. He knows exactly when to give the cast room to play and when to rein things in, keeping the momentum dynamic and engaging. With Bad Shabbos, he continues to establish himself as a filmmaker with an impeccable sense of pacing—delivering a ride that is as exhilarating as it is rewarding.

While David and Meg didn’t have a good Shabbos, audiences certainly will. Bad Shabbos is a fast-paced, wildly entertaining comedy that turns family dysfunction into something unforgettable.

★ ★ ★ ★ ★ out of 5