THE ASSESSMENT
There was a time when I kind of had Judd Apatow figured as a sort of inventive soothsayer for a generation of vaguely crass, amusingly good-hearted, foulmouthed schleps, aimless but cinched to one another around the problems that come with being natively smart but unaccomplished, a little fat but decent in nature, or very horny but dinged up by too much porn. The result, great movies: Superbad, Knocked Up, The 40-Year-Old Virgin, Anchorman, and more. Apatow-written, or Apatow-produced, or Apatow-launched. The best of them feature dopey boy protagonists, who cipher their dilemmas in boys-only circles meshed together by codes of adolescence. They survive said struggles by breaking away to stand on their own, if only a little. And I always liked the men Apatow revealed inside these boys,…