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Jesse Eisenberg, known for his roles in films directed by notable creators like Noah Baumbach, David Fincher, and Kelly Reichardt, has carved out a niche in Hollywood with his unique on-screen presence. His performances often blend awkwardness with a spectrum of emotions, ranging from confidence to fear, leaving audiences guessing about his character’s next move. This unpredictability is epitomized in his standout role in the 2019 film “The Art of Self-Defense.”
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Available for free on Tubi, this underrated dark comedy by Riley Stearns follows the peculiar journey of Casey, a mild-mannered accountant portrayed by Eisenberg. Although Casey shows interest in venturing out, he typically spends his time at home with his beloved dachshund. His world turns upside down when he is randomly attacked by a masked motorcycle gang, prompting him to retreat further into isolation. However, his curiosity is piqued when he stumbles upon a neighborhood karate dojo run by a mysterious figure known only as Sensei, played by Alessandro Nivola.
Initially presenting itself as a playful take on the “Karate Kid” trope, the film was described by Looper as one of 2019’s most perplexing movies. As Casey delves deeper into the dojo’s enigmatic environment, he uncovers hidden agendas and dark secrets. Premiering to critical acclaim at South by Southwest, “The Art of Self-Defense” unfortunately hasn’t maintained its deserved recognition over the years.
For those curious about a martial arts comedy infused with the dark humor of a Yorgos Lanthimos film, “The Art of Self-Defense” is a perfect match. Writer-director Riley Stearns, who later directed “Dual,” constructs an intriguing world that, while surreal, resonates with a raw emotional truth. The characters’ candid expressions reveal their inner selves, highlighting the film’s theme of an outsider’s obsession with karate. Stearns masterfully uncovers a dark satire on the pervasive nature of toxic masculinity.
The film, much like Casey’s growing confidence, initially reassures the audience with the dojo’s apparent safety. Our empathy for Casey lowers our defenses, as it seems he’s found his place. Yet, Stearns expertly crafts the film with an undercurrent of suspense, as if it might turn into a horror story at any moment. This tension peaks when Casey is invited to join night classes reminiscent of “Fight Club,” where the violence within Sensei’s teachings surfaces unexpectedly. The toxic masculinity soon infiltrates Casey’s life, influencing everything from his music preferences to his interactions with coworkers.
The Art of Self-Defense hilariously skewers toxic masculinity
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Stearns cleverly mocks the absurdity of ingrained masculine stereotypes, providing comedic insight into beliefs many accept without question. Alessandro Nivola delivers a stellar performance as the antagonist, unintentionally exposing the insecurities underpinning his flawed ideology.
Much like Casey’s confidence in the dojo, the film lulls the audience into a sense of security in regard to Sensei’s initial teachings. The kinship we develop with Casey prompts us to let our guard down because he’s found a place where he feels he belongs. But Stearns shoots “The Art of Self-Defense” like it could become a horror movie at any moment. This comes to a head with Casey being invited to join the “Fight Club”-inspired night classes where the simmering violence behind Sensei’s principles boil to the surface in unexpected ways. Soon the masculine micro aggressions bleed over into Casey’s everyday life, from his music choices to his pet routines to even how he speaks to his co-workers.
It’s funny because Stearns hilariously skewers the innate absurdity of masculine falsehoods that so many have been conditioned to believe outright. Alessandro Nivola is a pitch-perfect antagonist who unwittingly reveals a labyrinth of insecurities within his own flawed dogma.
The Art of Self-Defense features one of Jesse Eisenberg’s best performances
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It’s hard to imagine “The Art of Self-Defense” nailing its biting critiques of toxic masculinity without Jesse Eisenberg. While plenty of films have utilized his seemingly insecure disposition, Riley Stearns takes full advantage of how someone like Casey could be sculpted into something else in return for feeling like he belongs.
Casey is so enamored by the “honor” of receiving his yellow belt that he not only buys yellow-packaged foods at the grocery store en masse, he also commissions his very own casual yellow belt to wear outside of the dojo. Casey displays them to Sensei as a source of pride, and Eisenberg really sells the hell out of it. It’s truly one of his most underrated performances.
The deeper “The Art of Self-Defense” gets into its world, its absurdist comedy becomes more twisted and mean, especially with Sensei’s assistant Anna (Imogen Poots). Being the only woman at the dojo, she’s tasked with teaching the children’s class because of her “maternal nature,” as Sensei so delicately puts it. Casey’s the only person who recognizes Anna’s talents, creating a conflict between his loyalty to Sensei and his kindness. “The Art of Self-Defense” is an antidote to the rise of the manoverse culture because it hilariously deconstructs how a patriarchal system prides itself on following the rules — that is, until those rules conflict with its ideology.
