Tag Archives: adam sandler

Bulletproof

Remember in the 90s when they tried to make Adam Sandler and Damon Wayans the next big thing in buddy cop movies? No, you don’t. Nobody does, except little Jay, who had this forgotten artifact on her garage DVD shelf because she harboured a bonafide 90s crush on Adam Sandler from about 1993-2003, roughly. But they weren’t no Gibson & Glover, or Tucker & Chan, or Smith & Lawrence, or Tom Hanks & a series of dogs in the role of Hooch, namely a Dogue de Bordeaux named Beasley and his stunt double, Igor.

It was Sandler’s idea; Wayans hosted SNL in 1994 and Adam got it into his head that the two should do an action movie together. He soon sent him this script.

Keats (Wayans) and Moses (Sandler) are best friends and criminals, in that order. Until a deal goes wrong and Moses finds himself on the wrong end of an arresting officer – Keats, an undercover cop, insists on bringing his buddy in himself, safely, but things go even wronger and before you know it, Keats has a bullet in his head and Moses is on the lam.

Cut to: a year and a lot of rehab later, Keats is tasked with bringing Moses in yet again. This time he’s an important witness, turning state’s evidence against drug kingpin Colton (James Caan) who doesn’t take too kindly to betrayal. Cue a crazy roadtrip that goes wildly off the rails. Think exploding planes and flying bullets and a lot of dead agents and double crosses. Only it’s an Adam Sandler film (sorta – these were the days before his Happy Madison production company, so it’s not written and directed by his cronies), so also be thinking along the lines of toilet humour and crass sex jokes.

Is this a good movie? Of course not. You’d have to be Adam’s mom, or his secret tween girlfriend, to love it. And I bet his mom hasn’t even seen it. I heard an interview once where he said that when his new comedy album came out (yes I owned them all), he took his dad out to his car to listen to it. So his mom wouldn’t overhear. He protected her from his own vulgarity. His father is gone now, but if you’ve seen any of his Happy Madison films, you’ve seen and heard Mr. Sandler – he’s their logo. If you’ve seen any of Adam’s movies, you’ve likely recognized some faces; he’s extremely loyal. I could say his family is no exception, and that’s clearly true, but I believe his family is where his attitude originates.

As for the awkward homophobic bent of the film? I mean, no, it has no business being there. But it’s broad comedy, meant to elicit a tone-deaf guffaw from young men circa mid-90s. If Keats and Moses have to share a hotel room, why not insert gay joke? Don’t worry – we, the audience, paid for this directly when Adam released Chuck & Larry several years later. It placed him firmly in the “gay is okay” camp while decidedly not absolving him from the “makes shitty movies” camp down the street.

Anyway. You don’t need to be convinced not to watch this movie. You already didn’t watch it. Good for you. Continue exercising your good judgement. That is all.

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Murder Mystery

You may not believe this, but Adam Sandler’s in a Murder Mystery and he’s not playing the corpse.

Nick (Sandler), a New York cop, has repeatedly failed to make detective, and failed to take his wife on a European honeymoon for 15 years solid. Luckily, on the eve of their anniversary, Audrey (Jennifer Aniston) picks a fight about this very thing and Nick is able to book extremely last minute tickets and pass them off as a surprise. On this transcontinental flight, she runs into a disgruntled first class passenger, Charles (Luke Evans), who invites them to join him on his yacht.

It’s a little more complicated than that: his fiance Suzi has recently left him for his billionaire uncle Malcolm (Terence Stamp). The yacht is full of people who are not overly happy about this: the son who stood to inherit, a maharajah whose family fortune is entangled with Malcolm’s, a famous actress, the godson Grand Prix racer, his best friend and literal life saver (and a bonus bodyguard). He’s gathered them all together to call them leaches, to cut them off, and to amend his will to reflect only Suzi as inheritor. But just as he’s about to sign the new will, the lights go out, and when they come back up, there’s a body. Malcolm is dead. One of the yacht’s occupants is a murderer.

For a murder mystery, it’s pretty light-hearted. It IS an Adam Sandler project, after all, but his usual humour’s been tempered somewhat and most will find this surprisingly tolerable. Not a great movie maybe, but definitely watchable, despite his mustache. Sandler and Aniston have a great chemistry after a couple of movies together, and the script, though not quite clever enough to actually keep you guessing, is entertaining enough that you won’t really care, and the ensemble cast supports it ably. Director Kyle Newacheck doesn’t try anything fancy but he doesn’t get in the way of the film’s strengths: a few moments where Aniston shines, a few moments where Italy shines, and the harnessing of Adam Sandler’s baser, more juvenile instincts. It’s for the best.

Hotel Transylvania 3: Summer Vacation

In my opinion, the Hotel Transylvania franchise is completely devoid of charm, wit, imagination, or life. It’s the barest of bare minimums. It treats children like nitwits and may actually be worsening their little attention spans by assuming they have none.

But if your kids are already attached to this hotel full of monsters, chances are you’re going to have to sit through this one too, so here’s what you’re dealing with: Drac (a vampire voiced by Adam Sandler) manages a hotel for monsters. His daughter Mavis (Selena Gomez) shocked the monster community by marrying a human, Johnny (Andy Samberg) and producing a half-human, half-dracula child they inexplicably named Dennis. So that’s basically the first two movies, distilled into two sentences, and let’s faceMV5BY2ZiMWFkZDEtMTgxNy00ZDdkLTlkYzgtYWNlYTcxN2M0NDcwXkEyXkFqcGdeQXVyNTc5OTMwOTQ@._V1_ it, with some clever punctuation, it could have been just the one. Anyway. The hotel is populated by various monsters such as Frankenstein (Kevin James) and his lovely wife Eunice (Fran Drescher), Mr & Mrs Werewolf (Steve Buscemi and Molly Shannon), the invisible man (David Spade), and a mummy called Murray (Keegan-Michael Key). And in this third installment, Mavis gets it in her head that her dad has devoted his life to perfecting other people’s vacations and deserves one of his own. So somehow the whole gang schleps off to a monster cruise, helmed by the beautiful captain Ericka (Kathryn Hahn). Only problem is: Drac has already “zinged” once (“zing” being the monster version of love at first sight, and true love forever, and love being once in a lifetime). So he’s nervous about it, and Mavis is unexpected not that cool with it. But even more worryingly, Drac’s old nemesis Van Helsing (Jim Gaffigan) might still be after him after decades of cat and mouse. So that’s disappointing.

Spelling it out like this actually makes it seem like this movie has a plot, and I guess it does in the very vaguest of terms. But plot in this case is just filler in between out of the blue musical numbers \ dance sequences where it is clear that a) Sony isn’t shelling out for good or current music and b) the animators are super duper lazy and praying we won’t notice.

Anyway, Hotel Transylvania is as big a snore as the first and second. The only thing it has going for it is a giant puppy named Tinkles, even though he’s criminally and surprisingly effectively disguised by a small hat for most of the movie (which manages to confound all of the grown-ups until it falls off and his true identity is revealed). I was never in danger of laughing. I had low expectations for this movie and it met them – good thing it was the only thing playing at the drive-in.

The Week Of

Have you ever been 23 and so deeply in love that getting married is the only answer? The only answer even if your family thinks you’re a little young, and a little crazy? And doesn’t love always make you a little crazy, no matter how old you are?

Sarah and Tyler are indeed getting married, and if they’re a little crazy, their family is a LOT crazy. His father is a wealthy heart surgeon (Chris Rock) who spent more time in the operating room than in the family room, and her father is a humble contractor (Adam Sandler) willing to spend money he doesn’t have to give his baby girl her special day.

Sandler is quickly surrounded by all manner of family, and you know how family is. And if you’ve ever been married, you know how weddings are. You spend a huge chunk of MV5BMjMyNjU4NDIzMF5BMl5BanBnXkFtZTgwMzUyMzE3NDM@._V1_SY1000_CR0,0,1499,1000_AL_money in order to assemble the biggest nuts in your family just to see which ones will crack under the pressure. And oh  my god they crack in such spectacular fashion. I bet your own wedding was not without disaster: tell us about it in the comments! But every wedding has its own brand of chaos, and with Sandler co-penning the script, you know you’re in for some moans and groans, if perhaps not of particularly imaginative variety.

Sandler and Rock are not at their best here, and it seems they’ve decided they don’t really have to be. There’s an extensive cast on hand, including Rachel Dratch and Steve Buscemi, everyone contributing some nonsense on a sliding scale. The bits I liked best are when the whole family is assembled, everyone talking over one another, the old biddies with their insistent ignorance and the younguns there against their will. It felt like a real family, like my family almost, except we’d have fewer deli sandwiches and a lot more beer nuts (not to mention beer). Both Sandler and Rock get drowned out in those scenes, and I don’t think it’s a coincidence that those are the ones that work best.

Anyway, The Week Of has a few forced laughs but it’s in no way a good movie – just a tolerable one if you’re flipping through Netflix in the need of something light and brainless.

The Meyerowitz Stories (New and Selected)

The Meyerowitz family is fractured. Danny (Adam Sandler) is a self-described ‘extremely good parker’ with little else on the horizon. A loving dad and devoted house husband, his life is in transition now that he and his wife are separating and his only daughter is off to college. Moving in with his estranged father Harold (Dustin Hoffman) seems like an opportunity to get to know him, except it turns out that feeling’s not mutual.

Harold abandoned Danny and daughter Jean (Elizabeth Marvel) in favour of a new family when they were quite young. He’s never acted as a real father to them and even now he’s mostly only interested in what they can do for him. Not to mention the complicating factor of his alcoholic wife Maureen (Emma Thompson) who MV5BN2M5YzA2ODAtOTNmMi00MGYyLWIxYWYtY2M2NmE4ZGE1ODQ1XkEyXkFqcGdeQXVyNjAwODA4Mw@@._V1_inserts herself into cramped dynamics like she’s determined to put the Wicked back into Step Mother. Both throw out the red carpet when favoured son Matthew (Ben Stiller) makes a reluctant appearance. Harold has fostered a competitive streak between his children by different mothers but they otherwise aren’t close. So when their father’s life and career necessitate them pulling together, it’s a little awkward. Actually, it’s extremely awkward and kind of heart breaking. Because they aren’t bad people, they’ve just been starved of their father’s love and have no idea how to act like a family now that there’s no real chance that things will ever be different.

This being a Noah Baumbach work, the comedy isn’t broad, but it is damn funny. When I finished it (a Netflix original) I immediately wanted to restart it, just to catch all the amazing little asides and offhand jokes that are so casually but expertly tossed out.

Although Harold is a self-absorbed contrarian, he’s not quite despicable in the hands of Dustin Hoffman and his grizzled white beard. Adam Sandler gives a nuanced performance that’ll make you believe in him as an actor once again – and it’s been a good long while since that’s been true. Actually, there are loads of big names, some in pretty small roles, but everyone is kind of spectacular in this. Having recently had no patience for Golden Exits at the New Hampshire Film Festival, I wondered if the our film lexicon was finally full to bursting with movies about privileged white people whining about their lives. But the family dysfunction in The Meyerowitz Stories feels relatable and authentic and the characters are trying too hard to be decent people in the face of it all: I kind of loved it. It’s amazing how many years later childhood resentments and jealousies can bubble to the surface, but this is the kind of movie that makes us all feel “Same” in one way or another, and it just feels good and cathartic that we aren’t alone.

 

 

Sandy Wexler

Sandy Wexler is the latest Adam Sandler comedy to hit Netflix; it’s the third in his ground-breaking four-movie deal with them, and in fact, it has just been announced that he’s re-upped his contract for four more: eight movies total. Like him or not, Adam Sandler’s movies have been consistent money makers. His first two tries on Netflix were absolute garbage so it’s weird to me that Netflix was so eager to extend him. It can only mean one thing: people are watching.

sandy-wexler-teaser-still-510x0And here’s the thing: Sandy Wexler isn’t awful. It’s not great, but it’s way more watchable than his previous Netflix efforts. He plays a 1990s-era show business talent who has a bunch of misfits for clients: a vantriloquist, a contortionist, an actress who never gets hired, a third-rate stand-up comedian who only got one star on Star Search. But then he discovers a woman singing her heart out as the ugly duckling\beautiful swan in a children’s play. Oscar winner Jennifer Hudson plays Courtney, a singer so talented that even her weirdo manager Sandy can’t hamper her rocket to stardom.

Sandler does an annoying Sandler voice for Sandy, but he’s otherwise an interesting character. Socially awkward? Too mild: more like socially clueless. Socially backwards. Adam Sandler has a LOT of famous friends in Hollywood, and they all gather in this movie to say crap things about Sandy Wexler, and it’s kind of hilarious. But as we get to know him, we understand that it’s all true. We laugh at his misfires, and we laugh at the easy, time-period-related jokes (example: Arsenio Hall pops up, quite confident that he’ll be famous forever). There are fantastic 90s-era cameos in this film, and if you have any love for the decade, you’ll no doubt have some appreciate for this. The comedy is cheap though. Bargain bin. If you aren’t a fan of Adam, this is NOT the movie that’s going to change your mind. But if you have a soft spot for his trademark juvenile humour, this is a step in the right direction.

 

Punch-Drunk Love

Barry Egan (Adam Sandler) leads a solitary existence in order to hide his self-hatred, and his violent outbursts. Constantly harangued by his 7 sisters and too insecure to ever stand up for himself, Barry has no coping mechanisms PDL_BAM.jpgand no healthy relationships. But then he starts collecting pudding. It’s only half as strange as it sounds: he discovers a contest loophole where if he buys an enormous amount of pudding, he gets to fly for free. This is the only bright spot in his world of self-loathing until two people pull his life in different directions.

The first is Lena (Emily Watson), a quiet but sweet woman who seems to genuinely like him despite his obliviousness, and let’s be honest, his weirdness. Her tenacity entices him outside of his shell and things are actually  looking up until “Georgia”, a phone sex operator, begins extorting him for all he’s worth.

When Paul Thomas Anderson announced that his follow-up to Magnolia would be “an Adam Sandler comedy”, it was greeted with laughter. When Punch-Drunk Love premiered at Cannes, however, Anderson won the Palm d’Or for imagesr0pkepkodirecting, and Sandler would go on to be nominated for a Golden Globe. Anderson had become somewhat known for his multi-character films and wanted his next work to subvert expectations, and boy did he. He was the first director to cast Adam Sandler and expect great things from him. He gave him real material to work with and Sandler rose to the occasion.

Punch-Drunk Love is a strange little film, even among PTA cannon. It’s gorgeous to look at, completely saturated in brilliant colour schemes emphasized by director of photography Robert Elswit’s use of film stock that allowed him to shoot in underexposed conditions, giving greater depth to the film’s shadowy look.

The sound of the film is distinguished too: Jon Brian composed the music Punch Drunk Love handshake.pngduring the film’s music. The score’s unusual tones and sounds would then be played on set, influencing the atmospheric tone of the film. Anderson brought it Gary Rydstrom on sound mixing, an atypical move as Rydstrom, the chief sound editor for Pixar, normally works on big special effects movies, like Spielberg’s Jurassic Park and Saving Private Ryan. All of these abnormal pieces form a whole that’s off-kilter and intoxicating.

And while I could go on all day about my love for PTA, you’ve probably noticed by now that this series is about one thing: Hawaii. Sean and I are in Hawaii, so I’m writing about movies who shot there, and earlier when I said that Barry punch-drunklove_bestbought a lot of pudding in order to see the world? The first place he goes is to Hawaii. His Hawaiian trip, inspired by love, is the first self-actualized thing he does for himself. The framing and composition open up as Barry steps outside of his comfort zone, and the confines of his loneliness. Barry is often shown wearing blue, a blue boy wearing his depression, but in Hawaii, pink becomes the colour of prominence, the colour of sweetness, empowerment, and romance. It literally chases the blues away. Although, to be fair, I think Hawaii has the tendency to do that for everyone.