The most exciting thing for a jaded critic who has seen it all is when they come across something (or someone) that feels like a true original, an exciting change of pace that steers a genre train stuck in a rut off the tracks and onto a new course by sheer force of will. In a moviemaking era where it safest to join the factory line and churn out endless retreads of the same product, finding a film like Scrambled and a talent such as its writer/director/star Leah McKendrick is similar to finding that oasis in the desert flowing with your favorite flavor of La Croix.

A delightful and, to wield an overused buzzword, empowering exploration of self-discovery, love, and the complexities of modern relationships, Scrambled finds McKendrick’s insightful script navigating the comedic and chaotic universe where there’s a wedding every weekend, baby shower brunches, and a barrage of cringe dates. A go-to bridesmaid (she’s been one so often she’s nearly run out of unique entrance dances at the reception), McKendrick’s Nellie Robinson decides to grab destiny by the cumberbund and never look back. While her biological clock hasn’t ticked loud enough to be untucked, she decides to freeze her eggs to have a child on her terms when she’s ready. It’s a resolve relatable to anyone faced with the societal pressure of following what’s “normal” and “expected.”

Witty, charming, and seamlessly blending humor with heartfelt moments, McKendricks’s script provides a new outlook on the obstacles those standing in the harsh glare of expectation often face. Through sharp and observant dialogue, McKendrick (Bad Moms) gives viewers an inside look at the nuances of the modern single scene and is wise enough to cast herself to tackle the issues she brings up. It’s a crackling good performance that calls for an actor willing to make themselves available emotionally and physically, and you can see she’s poured her heart into every aspect of the roles she’s taken on. Committing that fully to the character lends gravitas to the thought-provoking narrative, adding additional layers to the story.

You can often tell a person’s quality by those they surround themselves with, and McKendrick has nabbed an ace supporting crew to fill out her cast. Already a notable standout on Saturday Night Live, Ego Nwodim (Genie) is best friend and new bride, Sheila, showing an impressive dramatic side that offers the versatility of an actor destined for a future outside of sketch comedy. I’m unsure if Nwodim and McKendrick were friends before Scrambled, but they share a chemistry that made me believe they were longtime friends who would confide their deepest vulnerabilities to one another.

Other notable supporting turns come from longtime character actor Clancy Brown (Promising Young Woman, but who will always be the terrifying guard from The Shawshank Redemption to me) as Nellie’s father, who is skeptical regarding his daughter’s plans, ER’s Laura Cerón as her mom, who isn’t sure this is the path she dreamed for her daughter, and the enjoyably droll Andrew Santino (Fool’s Paradise) as her older brother and dinner table sparring partner who lives to bug his sister but secretly is rooting for her like all big brothers should.

Fans of Bridget Jones’s Diary and Crazy, Stupid, Love are sure to find similar enjoyment cooking up in Scrambled. McKendrick’s film pays homage to these earlier films by tipping its hat slightly as it lays out its plan for genre success. It may lack the flash and studio slickness of similar entertainment, but Scrambled possesses a level of honesty that isn’t easily found in movies released today.

As it moves toward a satisfying conclusion without being a rose-colored fairy tale, the wry wit of Scrambled turns bittersweet, creating a perfect flavor profile. Here’s hoping it and McKendrick have ushered in the next era of fresh approaches to romantic comedies. There’s no expiration date on this kind of ambitious filmmaking.