Joy and pain co-exist in new Apatow comi-drama “Funny People.”

In his third feature film, “Funny People,” writer/director Judd Apatow attempts once again to mix dirty jokes with sincere human relationships.

Just like Apatow’s first two movies, “The 40-year-old Virgin” and “Knocked Up,” “Funny People’s” formula includes plenty of raunchy humor in the first half of the film, followed by a more sentimental wrap-up. But even through the sad, thoughtful parts, there are heaping spoonfuls of humor, often blended in directly with the tears. And while the film’s 2-hour and 16-minute run time drags in spots, it would likely be impossible to develop the same relationships between the characters in less time.

The story begins as world-famous comedic actor George Simmons (Adam Sandler) finds out he has AML, a form of leukemia. Simmons’ doctors put him on an experimental cocktail of drugs that has only a very slim chance of curing him. He decides to return to his roots on the improv stage, but when his dark, personal monologue leaves the crowd silent, Simmons enlists the help of fledgling comic Ira Wright (Seth Rogen). Wright is struggling to attain success himself, and jumps at the chance to work for the famous Simmons and make his friends jealous. In the process, a deep friendship develops between the two, and becomes more meaningful than almost anything Simmons has previously allowed himself to experience.

One of Wright’s friends, Leo Koenig, is portrayed by actor Jonah Hill, who rarely presents a line that’s not snide, sarcastic or hilarious. Hill’s limited screen time leaves the viewer wanting more of his sharp wit, but Sandler and Rogen carry the film rather well on their own.

Sandler’s acting is a far cry from his “The Waterboy” and “The Wedding Singer” characters. The role of Simmons requires Sandler to merely be himself in many spots, but also forces him to tackle a broad spectrum of emotions that he displays in a believable manner.

In addition to the film’s main actors, Apatow marches out a cavalcade of cameos from Paul Reiser, Norm MacDonald, Sarah Silverman, Ray Romano, Eminem and more.

All throughout, the story is sprinkled with belly laugh-inducing standup and well-placed jabs at mass-produced comedy, including that of Apatow’s own genre. Indeed, at one point Simmons’ agent approaches him to say, “Paul Rudd wants to do a bromance with you.” And many of Simmons’ past films resemble some of the more forgettable efforts made by Eddie Murphy, the Wayans brothers and Sandler himself.

Just like in his previous films, Apatow doesn’t shy away from presenting his own, sometimes confusing views on life and morality. The warm and fuzzy idea that family, friends and fidelity are important is tough to reconcile with the overwhelming bathroom humor. But that juxtaposition is part of what Apatow does so well. He doesn’t present life as it should be, he presents it as it is: imperfect, with flecks of pain, sorrow, happiness and forgiveness always present and always at odds with each other. Ultimately, what matters is what the players learn from that reality.

When not taking on the Big Screen, Brian Olson writes sports and education for the North Kitsap Herald.