Tag Archives: adam sandler

The Do-Over

I contemplated going with a one-word review here: sophomoric. Sophomoronic. It’s another piece of shit put together too-quickly by Adam Sandler and friends as part of his Netflix package deal where they gave him millions and he gave them movies he seems to invent as he goes in about 3 days flat. Although I doubt this one’s as bad as as his previous abortion, The Ridiculous Six, it’s also not much better. These are way below the bar of Adam’s regular movies, so you know it’s a low, low standard of fare being offered here. Low. Super low.

Like here’s Adam Sandler’s last theatre-released movie, Pixels. Pretty shit movie actually, but not the worst thing ever made.

And lower than that: a romance that makes you barf in your mouth it’s so damned cheesy and stereotypical.

And underneath that: movies where people are battling sharks, or sharks are battling nature, or nature is battling some other super scary sea creature.

Even lower: films where foreign characters are played with racist enthusiasm by white people.

Even lower: movies starring Johnny Depp made this century.

Lower: super hero movies ruined by Josh Trank.

Lower still: found-footage films made by 8th graders.

And then: the footage from any 3 random colonoscopies.

Finally: Adam Sandler’s Netflix movies.

So there. You’ve been warned. But instead of just telling you to stay away, I’m going to fulfill some of my community service obligations by giving you a short list of stuff that’s way more worthy, and available on Netflix right now.

Requiem For The American Dream: Four years worth of discourse with Noam Chomsky on the defining characteristic of our time – the deliberate concentration of wealth and power in the hands of a select few.

Autism In Love: A documentary that follows the love-lives of 4 people, complicated (and sometimes not) by their autism.
Dope: Life changes for Malcolm, a musically-inclined geek who’s surviving life in a tough neighborhood, after a chance invitation to an underground party leads him and his friends into a scary Los Angeles adventure.
A Single Man: An English professor is barely coping with life a year after the sudden loss of his boyfriend. Colin Firth at his melancholic best.
Eagle vs Shark: New Zealand’s sense of humour is among the best, and Taika Waititi is one of my favourite film makers. This one is astoundingly funny, about a woman who falls in love with a loser.
Short Term 12: Brie Larson before the Oscar, but just as Oscar-worthy, about a young woman who works in a group home. Tough fucking job.
Force Majeure: A real conversation piece. When a family on a ski vacation suffers a near-death experience and the father doesn’t quite live up to expectations, everyone’s disillusioned.
Two Days One Night: Marion Cotillard has not very long (guess HOW long!) to try to save her job before it throws her family into a desperate situation.
Philomena: Brilliantly acted by both Steve Coogan and Judi Dench, an elderly woman tries to locate the baby she gave up to adoption many years ago.
The Boxtrolls: Lovely stop-motion animation. A young orphaned boy raised by underground cave-dwelling trash collectors tries to save his friends from an evil exterminator.
Fruitvale Station: Cops killing black people for no damn reason. Deeply emotional. Michael B. Jordon establishes himself as a star.
Beginners:A youngish man (Ewan McGregor) is shocked by two announcements from his elderly father (Christopher Plummer): that he has terminal cancer, and that he’s gay.
Amelie: You’ve probably already seen it, and should probably see it again. Total whimsy. Amelie is an innocent who decides to help those around her and, even if she herself may need help too.
Boy: Another one by Taika Waititi because I couldn’t resisit and really, why should I? Boy is an 11 year old Michael Jackson fan who gets to know his criminal father when he returns home to retrieve buried treasure.
The Queen of Versailles: One of my favourite documentaries about the 1% – specifically a couple trying to build the biggest single-family home ever but then the recession hits and things get awkward.
What are your favourite Netflix recommendations? Feel free to leave relevant links in the comments! Let’s work together, film community, to make sure nobody has to sit through this movie. We can do it!
Some other great recommendations:
Europa Report
New on Netflix: Grandma, and Infinitely Polar Bear

Adam & Drew

Adam Sandler is not everyone’s cup of tea. His movies tend toward the juvenile and so lots of people give him a wide berth at the box office. But to know Adam Sandler is to love him; in actors’ circles, he’s known as the nicest guy in Hollywood.

A little shy, Sandler does as little press as he can get away with, almost no print, and only very occasional talk show appearances, which he usually does in character. As the head of his production company, Happy Madison, things are a little different. He’s the affable and humble centre of an awful lot of industry, loyally employing friends and family on projects skewered by critics but beloved by audiences. Sandler’s movies haven’t been box office juggernauts in years, but they are consistent earners, and his name has continually if quietly stayed among the top earners of Hollywood for the past two decades.

Sandler’s early success meant he could start doing things his way, and he’s surrounded himself with the same cast of characters, working with the directors and writers he trusts, to say nothing of the famous faces appearing in his movies. Always grateful to Saturday Night Live as his diving board to fame (he was discovered by Dennis Miller), he employs not just the SNL alums he worked with (David Spade, Rob Schneider, Chris Rock, Norm MacDonald) but many besides (Will Forte, Andy Samberg, Dan Aykroyd, Kevin Nealon, Rachel Dratch). He attracts big names to his movies (Jack Nicholson, Harvey Keitel), but always finds room for old friends (Allen Covert, Peter Dante), Sandler mainstays (Henry Winkler, Kevin James, Steve Buscemi), and his own wife and daughters.

drew sandlerOne such person who can never get enough is Drew Barrymore. In her 2015 memoir Wildflower, Barrymore describes begging for a chance to meet him after her good friend Tamra Davis (director of Billy Madison) raved about him. Barrymore was certain of his “goodness” and felt they should pair up despite them being complete opposites in their early 20s, “like a preppy and a punk set up on a bad blind date.” Her pitch worked: pretty soon he came calling with a little movie called drew-barrymore-and-adam-sandler_2The Wedding Singer in his pocket. Written by Sandler groupie Tim Herlihy, it was given an uncredited polish by Sandler’s friend and former roommate, Judd Apatow (another guy famous for working with a loyal crew, including Sandler himself of course, most notably on Funny People) and Carrie Fisher, to give equal weight to the feminine side. The movie was a hit, with Drew certifiably falling in love with the Sandler crew, calling them “real, no-bullshit friends” which I take is a high compliment in Hollywood.

People loved The Wedding Singer for many reasons – the 80s nostalgia, the cheesy music, but above all, the incredible chemistry between Adam and Drew (she refers to him as her “cinematic soulmate”).

Always intending to work with Sandler again, Barrymore knew they couldn’t settle for anything less than the greatness they’d already achieved. But life drewadammoved on. Drew worked intensely on a Penny Marshall movie called Riding in Cars with Boys, and it was around that time that she came across a romantic script that she thought was a great fit for her production company, Flower Films. Unfortunately that script was a hot commodity, and it kept changing hands, with big directors and stars attached, never becoming available to her, despite numerous attempts. Until one day she heard that it had landed at Adam’s studio, Happy Madison. By this time they each had an office just a few hundred feet apart on the Sony lot (she was doing Charlie’s Angels), so he was easy to hound. Sandler was already turningdrewbarrymore it into a comedy but welcomed Drew on board not only as a co-star but also as co-producer, and she’s responsible for keeping the important elements of the love story, the parts that turned us all to mush.

Adam and Drew took the Seattle drama and laid it out in Hawaii instead, each bringing their production families to paradise and basically turning the island into a happy party (so happy that her Angels co-star Cameron Diaz came to visit and never left). 50 First Dates opened on Valentine’s day, and I was there, butt in the seat, and actually watched it twice (the projector broke down half way through, and we had to star the thing over from the beginning). They CinemaCon 2014 - The CinemaCon Big Screen Achievement Awards Brought To You By The Coca-Cola Companybroke records that opening weekend; I’m not the only one who finds these two irresistible.

It would be another decade before they reunited on-screen again, with The Wedding Singer director Frank Coraci back at the helm for a movie about modern families called Blended. This movie would be proof of how far they each had come, personally and professionally, since first meeting as successful, hard-partying kids in the 90s. Sandler, once a “bad boy of SNL” now has a reputation for being a family man. He has always been quick to attribute credit to his parents (his highest-grossing comedy album named for them, Stan & Judy’s kid, and even one of Chris Rock’s albums a tribute to Sandler’s late father). By this time Adam and Drew had 3 daughters between them and the whole crew headed to Africa, families in tow. Barrymore has downshifted on her acting career since becoming a mother, finding it hard to strike the balance, but an Adam Sandler film “celebrates Drew-Barrymore-Adam-Sandler-reunited-promote-new-filmwives and kids” and she was able to make a family adventure out of it, even discovering on her last day of shooting that she was pregnant with a second daughter.

Still the best of friends, Adam and Drew now attend each other’s kids’ birthday parties (2 daughters apiece – Sadie and Sunnie for him, Olive and Frankie for her) and talk about their next project, whatever that may be, joking that they’ll still be making romantic comedies when they’re old and gray. (In fact, during press for the movie Blended, Adam made a very pregnant Drew cry when he sang the precious The Wedding Singer song to her “I Want to Grow Old With You”).

No matter what it is, I know I’ll be in line to see it. These two are cute as can be when they’re together, and Drew knows why: “I once knew a boy named Adam. And I hoped that we could be a team, but what I found was a true partner. I now know a man named Adam, and trust me when I say, he is as great as you want him to be.”

Hotel Transylvania 2

hotelphoneI’ll take Phoning It In for 500, Alex.

We’ve been spoiled by Pixar into thinking that animated films aren’t just for kids anymore but Adam Sandler wants to remind you that, indeed, some of them are.

Hotel Transylvania 2 isn’t offensive, it’s just a throwback to that old style animation where a cartoon is just a babysitter for the kiddos. It’s full of monsters so colourful and appealing they could advertise sugary breakfast cereal. The movie relies on sight gags and corny jokes that just don’t cut it for the over-10 crowd.

hoteltDracula is back, the proprietor of a high-end hotel catering exclusively to monster guests. His daughter Mavis (Selena Gomez) has just married her human sweetheart Jonathan (Adam Samberg) and they’ve got a sweet little baby boy, the apple of Dracula’s eye. The only thing is, nobody knows yet whether the baby will turn out to be vampire or human. There’s a slight allegory here, something about “mixed families” but it’s not exactly groundbreaking stuff.

Sandler brings along all his old buddies to flesh-out the awesome voice cast: SNL alums, Chris Parnell, David Spade, Molly Shannon, Dana Carvey, Chris Hotel-Transylvania-2-Monsters-Frank-Wayne-Griffin-MurrayKattan, and Jon Lovitz; Sandler mainstays Kevin James, Steve Buscemi,  Nick Swardson, and Allen Covert; and a rather inspired addition – Mel Brooks as Vlad, grumpy great-grandpa who doesn’t approve of vampire-human relations. My favourite of course, are Nick Offerman and Megan Mullaly, who together voice Jonathan’s super-square parents who get thrown into a crash-course in monsterdom when their son introduces them to vampiric in-laws and a “half-blood” grandson.

hotelOfferman and Mullaly are a real-life couple who met while doing a play. He was a lowly carpenter, and she was a TV star still in the throes of her Will & Grace fame. Over the course of their relationship, she’s seen his star rise as well due to a similarly iconic role on Parks & Recreation. We Assholes were lucky enough to catch them doing another play togetannapurnaher, this time on Broadway, called Annapurna. It was a simple, 2-person play, deeply intense and emotional, and a real joy to watch two master thespians up close and personal. It’s clear that they love working together, even if it’s on a shitty kids’ movie.

Well, I’m saying shitty because I was bored by it. But the producers of Hotel Transylvania don’t care what I think. They didn’t make it for me. And if you hoteltrannsask a kid, chances are they loved it. The sequel was a veritable monster at the box office, if you’ll forgive the pun, setting records as the biggest September opening, the biggest Sandler opening, and the biggest for Sony Pictures Animation as well. It grossed $469 million worldwide, and it just beat out Inside Out at the Kids’ Choice Awards this weekend. So hell yes there’s a #3 coming down the pipes.

Bottom line: if you run out of Paw Patrol, this movie will make a nice substitute for your single-digit-aged kids. If you hope for more than just fart jokes in your animated movies, maybe Zootopia is your better choice – though I’m not guaranteeing it’s fart-free….in fact, I distinctly remember a certain “play on words” if you can still call it that when the word in question is duty.

The Ridiculous 6

For some reason, I like Adam Sandler. Even though his movies are atrocious. For every funny scene, there are three times as many that just don’t work. Despite his efforts to appeal to the shortest of attention spans, his movies are usually ironic culprits of the worst crime any film can commit. They’re boring.

Still, I like him. Maybe I’m biased by my fond memories of 90s Saturday Night Live or the first time I saw Happy Gilmore. Or maybe he just seems like a nice guy. Everyone around him seems to be having so much fun. And as juvenile and offensive as his humour can sometimes be, that classic Sandler grin can’t help but make us feel like he means us no harm. Besides, he’s a funny guy who throws so much at you that some of it is bound to stick. I don’t think there’s a single Adam Sandler movie that hasn’t made me laugh out loud at least a few times.

Until now. This week I watched Sandler’s Netflix Original The Ridiculous 6, which has to be a new low for him both as an actor and as a writer. Sandler, Rob Schneider, Taylor Lautner, Jorge Garcia, Luke Wilson, and Terry Crews all play brothers from other mothers who Sandler meets one by one while on a mission to rescue their father from a gang of thieves. They’re a ridiculously diverse group of brothers; Sandler was adopted and raised by Native Americans so naturally knows how to do all kinds of mystical shit, Schneider is half-Mexican with a horse that sprays you with shit to let you know that it likes you, Lautner is a simple-minded redneck with a missing tooth, Garcia doesn’t speak English and is good at strangling people, Wilson was Abe Lincoln’s bodyguard, and Crews is a piano-playing black guy and of course has a huge penis.

So, obviously it all feels dated, desperately banking on the hope that the stereotypes from Adam’s SNL days are still funny 20 years later. The injustices suffered by First Nations people have been a hot and controversial topic in Canada lately, making Sandler’s performance and the film’s depiction of the culture in general just seem wrong. I believe that a gifted comedian can get away with joking about almost anything but firmly believe that, if you’re going to take on such a sensitive subject, you’d better make damn sure at the very least that you’re funny. There’s nothing funny going on here.

Thank God we’ve got Taylor Lautner. Sandler going Native was a bad idea but he can’t help being at least a little likeable and, thanks to Lautner, he does not come close to giving the worst performance of The Ridiculous 6. Lautner’s hillbilly feels less offensive since southern white guys have been fair game for so long now but rarely have they been portrayed by an actor with so little charisma and sense of comic timing. It’s hard to watch him without wondering how no one close to him was ever able to talk him out of this.

If you still want to watch it, the good news is that The Ridiculous 6 is not all bad. While it never made me laugh, I might have managed a chuckle or too had I not been so irritated by the rest of the movie. John Turturro’s cameo featuring an early version of baseball nearly got a “nice job with that” from me and the usual cast of Sandler cameos show up as real-life historical figures occasionally made me smile despite myself. I hate to name specific actors or characters here because I wouldn’t want to spoil what little fun this movie has to offer.

Healing Fest 2015

Matt and I decided to curate a little film festival for our coworkers. Our theme was Healing, and so we have put forth the following selections:

Good Will Hunting: Hey, remember Minnie Driver?

Ordinary People: See Donald Sutherland before he was old!

50/50:  Seth Rogen will teach you how to use cancer to your advantage when picking up girls in 50/50

Postcards From The Edge: Now with 20% more old lady thigh!

The Lookout: See Chris Pratt before he was famous and when he was played by Joseph Gordon-Levitt.

As Good As It Gets: Carol the waitress, meet Simon the fag.

Reign Over Me: 9/11 + Adam Sandler = do I have your attention?

The Diving Bell and the Butterfly: “A stroke of genius” says Matt.

Life As A House: “A movie more emotionally manipulative than my mother-in-law” says Jay.

 

What’s your pick?

 

 

Escapism (Or Why I’m Not At Work Right Now)

There’s a heat wave in Ottawa, folks. The humidex says 40 bloody degrees. Is it hot where you are too? Our local art house theatre, the estimable Bytowne on Rideau street, helpfully suggests that their cinema is in fact air-conditioned, and even better, they sell ice cream at their concession stand. So there’s always that.

But today Sean and I are playing heat wave hookie. There’s a water park down the road so we’re slathering on the sunscreen (Sean says: smells like vacation sex!) and hitting the (fake) waves.

Now, one thing to consider when you’re off to the local water park is all those news stories you’ve read about it recently, and in particular, its “dismal safety record.” The good news is: it was only found guilty on 6 of 11 charges, and the 9 others were withdrawn. So that’s not bad, right? I feel like I can beat the 50\50 odds at least half the time.

The truth is, you have to remember that these parks are staffed by the same kids in adventurelandAdventureland. I mean, would you literally trust Jesse Eisenberg or Kristen Stewart with your life? Those two asshats, plus a gang of their ne’ever do well friends, run the games section of a run down amusement park while dreaming of being ANYWHERE ELSE IN THE WHOLE FUCKING WORLD and having these deep and meaningful conversations while completely ignoring their customers. Have you seen this movie? Did it remind you of any of your own after school jobs? It’s pretty scary when teenagers run the world,

In The Way, Way Back, a kid named Duncan gets hired to work at a water park called Water Wizz, which is an awful name for a park. It reminds you too much of what you’re floating in. I mean, realistically, we know it’s 40% urine. Those kids over there haven’t gone to the washroom WayWayBackONCE since arriving but they’re throwing back juice boxes like it’s happy hour. Water parks probably don’t even HAVE bathroom facilities for kids. Why waste the space? (This reminds of a scene in Grown Ups where Adam Sandler, Kevin James, Chris Rock, David Spade, and Rob Schneider are all floating around at a water park, not coincidentally also called Water Wizz since it was filmed in the same park, and suddenly the water around them all 20100614_poolpee_190x190turns dark blue – apparently there’s a chemical that can notify us that someone has peed, and I can’t decide if that’s brilliant or just tmi. The point being: I guess grown ups (if you can really call David Spade a grown up) do it too.) Anyway, back to the movie I meant to be talking about. Duncan seeks refuge at this pissy water park because his mom (Toni Colette) is neglecting him on their summer vacation, and her boyfriend (Steve Carrell) is emotionally abusive toward him. So a pool full of pee starts to seem not so bad.

Me? I happen to like my Mom’s boyfriend, despite his constant cracking of sex jokes, which – hello – are about my Mom. So I’m not fleeing step-parent abuse. But I am avoiding work. And the weird thing about work is, I (and likely lots of you too) have this weird thing about skipping work just to laze around watching Netflix. I mean, that’s what Sundays are for. If you miss work, you need a Reason. See what I did there? Capital R Reason. A good one. Like going out-of-town with my hunny to get an irresponsible sunburn and possibly also athlete’s foot.

Anyway, this was a good movie review, wasn’t it? To recap:

Adventureland: high on nostalgia; has some great supporting characters.

Grown Ups: funny to people who like pee jokes.

The Way, Way Back: quietly charming and sweet and funny.

What’s your favourite summer movie? How are you staying cool? What do you skip work to do?

 

Against the Crowd

bannerfans_16176859Wendell at Dell On Movies has proposed this inspired idea for a blogathon: Against the Crowd. Basically, you name one movie that you love even though everyone else hates it, and one movie that everyone loves but you actually hate. I’m already licking my lips in anticipation! Thanks, Wendell, for letting us play!

 

Sean’s picks:

46a639ecd69330827bc6a3212bab82a0One I love that everyone else hates: Night at the Roxbury (11% on Rotten Tomatoes’ Tomatometer) – Honestly, if you hate this movie, I don’t want to know you. It’s wonderful. It’s so funny and kind of sweet and somehow all came together out of a one-note SNL skit. It’s pure genius, like seriously, the wedding scene is the best possible way to break up your brother’s wedding to Molly Shannon. And casting Richard Greico as himself, and then having him give life advice to Dan Hedaya? Simply amazing.

 

 

One I hate that everyone else loves: Life of Pi (87% on the Tomatometer) – After reading the life-of-pi-01-1920x1080book, the movie was such a let-down, and somehow it still got a best picture nod? You know, I’m not much of a reader but this book is one for the ages and the movie simply does not do it justice, and butchers the end reveal which absolutely defines the book and makes you want to immediately read it again.

 

Jay’s picks:

One I love that everyone else hates: Mixed Nuts (7% on the Tomatometer) – This movie is not well-known, so let me paint you a picture: a small group of counsellors are running a crisis line on Christmas Eve while facing down joblessness (hello, funding cuts!), clients with no boundaries (but a transgendered Liev Schrieber does a mean tango), and of course, loads of their own personal shit. The counsellors include Steve Martin, Rita Wilson, and the esteemed Madeline Kahn. So when a certain counsellor (namely, myself) goes to work at her own crisis line on Christmas Eve, the blow is made that much softer by watching this movie that makes me feel just a little less alone, and a little more merry. The jokes are as cornball as they come, but once a year I want to see Adam Sandler play his ukulele, Jon Stewart get road rage on rollerblades, Garry Shandling dress as a Christmas tree, Anthony LaPaglia get high on tranquilizers meant for dogs. Is that so weird?

One I hate that everyone else loves: Can I possibly pick just one? Sean suggested “any thing comic book” which is almost but not quite true (maybe more “anything super hero” but even that’s not fair, because a couple have transcended the genre but otherwise, yes, I’m tired, and they’re clichéd and over-reliant on CGI), and then “anything franchise” which again is almost but not quite true – and I don’t think it’s fair for me to pick Lord of the Rings or Star Wars Or Hunger Games because the truth is, I haven’t seen them. I just hate them on principle. So I’m left with two movies that will assuredly get me into hot water: The Hurt Locker (98% on the Tomatometer), and 12 Years A Slave (96%). I hate them both for basically the same reason: while I wouldn’t say either is bad, I’d say both are derivative and listless. I’ve seen better, more memorable movies in both their respective genres. However, I suspect these particular movies garnered their excessive attention from the Academy for reasons other than strictly merit. And that’s really frustrating. I saw The Hurt Locker almost immediately upon release and was like: “meh.” I don’t like Jeremy Renner. I’m pretty sure this movie was supposed to be suspenseful but when you spend the whole time thinking, “God, why won’t he just die already”, it sort of cooks the goose. And I know it’s a proud American tradition to demonize one’s enemies, but the situation in Iraq was so much more complex than this movie knows how to give it credit for. It has no point of view. Yes, dismantling a bomb is a gruelling job. But where are these bombs coming from? Who is making them – and why? This movie wants to be important but congratulates itself for being “apolitical” when political context is exactly what’s needed. 12 Years A Slave I watched before the Oscars of course, but late enough after its release that I’d heard all the hype and went in believing it. There is one scene, one particular scene, where he is left hanging from a tree, with his toes just barely brushing the ground, left there for hours, constantly on the verge of death, and worse still (for me, the viewer anyway), all the other slaves witnessing this scene yet completely helpless to do anything about it – fuck. That scene went on WAY too long, which was exactly the right amount of way too long because it makes us the right amount of crazy uncomfortable. That scene was the only redeeming moment in the whole 12 years. The rest was torture porn, every bit as exploitative of Django Unchained was accused of being, only without Tarantino’s style. Chiwetel Ejiofor is sublime, communicating so much with his eyes – but he has to. The script sure isn’t giving him much more than the same trite lines that have already been recited. In fact, it almost feels like this movie belongs to the villains – Fassbender has the juiciest bits, that’s for sure. McQueen is intent on making us flinch, making this film feel like a slavery-themed edition of the Saw series. The Academy awarded what should have been a movie of hard truths, but in reality it was just hard to watch. (Dear white people: hating this movie doesn’t make you racist!) The gruesome images served to shock people into forgetting there was no emotional complexity here. And even if there was, it would come to a screeching halt with the Brad Pitt stunt-casting. How is it even possible to over-dramatize a movie about slavery? McQueen finds a way. I’ve read Solomon Northrup’s 12 Years a Slave and you know what? The material deserved a better treatment.

What about your picks? Half as juicy as mine?

p.s. Matt – you’re it!

 

Pixels

I should have known better than to get my hopes up.  Mediocrity is as good as we have gotten from Adam Sandler and Kevin James over the last five years plus, and even that “height” has been rarely obtained.  But then the Pixels trailer hit and tapped into that latent 80s kid vibe that Wreck-It-Ralph and Ready Player One both nailed, and I suddenly had this irrational hope that this movie would make me feel the same way, despite who was behind it.

But this movie about a world threatened by 80s videogames is not a disaster movie; it’s just a disaster.  There are a few laughs but it’s awful to see how badly the movie wasted its concept.  This could have, and should have, been something fun.  It was a great summer movie idea.   Instead, 95% of the funny parts are in the three minute trailer.  They got me a few other times with stupid stuff but mainly I was just thinking about how this seemed to have all been thrown together in a week, and how much the writers must have hated the source material to not even try to have any fun with it (really, it’s like they didn’t even watch a Wreck-It-Ralph trailer, let alone the movie).

To say much more would be to give the movie too much of my energy, so I’ll just paraphrase Billy Madison’s high school principal and say I am now dumber for having watched this movie, I award Pixels three 80s videogame points out of ten, and may god have mercy on Adam Sandler’s soul.

Paul Blarts: Mall Cops 1 & 2

 It should be wonderful when a sequel tops its predecessor. Think Godfather 2 or Empire Strikes Back. It’s a very rare occurrence, and you would think anytime it happens the sequel would be memorable, since if a sequel got greenlit the original movie must have been decent at least, right? If you felt safe making that assumption, like I did, now is the time to reconsider. Because Kevin James and Adam Sandler have gone out of their way to prove us all wrong.

I did not see Paul Blart 1 until Friday. I didn’t try to avoid it at the time but did not expect it to be much good. And I was okay with it being mediocre and also with seeing it at some point. So that point was two days ago. It was surprisingly not funny. Like I was just supposed to sort of cheer for Paul because he was the main guy. I think? It was more confusing than anything, really, as to why this mediocre idea didn’t even get to the mediocre level.

And if they had stopped at one there would have been nothing more to say. It wrapped up, Paul Blart won, he foiled all the bad guys and got the girl. So he could stop being sad and start being a more respected mall cop. Or something, I mean, it didn’t seem like he had more story to tell. But then, six years after that, for some reason a sequel got made.

There can’t have been anyone asking for a sequel. I don’t know how anyone could have thought this was a good idea. But here we are, with Paul Blart 2 playing this week at the drive in. We hadn’t been in a while because we’ve been busy, and we were semi-free, and it was a nice night, so really, it didn’t matter what was playing.

Paul Blart 2 is pretty much Paul Blart 1. I think if anything everyone was a little more practiced, like the first was a dress rehearsal for the second, so the second turned out a bit more polished. The second one is a slightly better movie, just comparing them straight up. But it is still mediocre at best. If it’s at your local drive in then go. Or you could consider it as an option on a plane, I mean, I’d probably rewatch Jurassic World instead but maybe it can be your 3rd or 4th option if your flight is crossing the Pacific Ocean. That’s about the best thing I can say about Paul Blart 2: it’s slightly better than the first one but it is probably not as good as rewatching something you already saw and liked.

I will give this franchise a combined rating of half a segway out of two. Because there’s probably a supercut of these two movies that might be entertaining but even then I think I would be better off rewatching Jurassic World and Mad Max: Fury Road and Inside Out and Furious 7 on my next plane ride (and since it’s to San Francisco that’s more than enough to fill my flight).

The Cobbler

Adam Sandler The CobblerNot a super duper movie, but for once it’s not Adam Sandler’s fault! He reins in his inner moron  to give a modest but adequate performance. In Hebrew his name, Sandler, means cobbler so it’s fitting that he plays the Brooklyn shoe maker resentfully hanging on to a business his father owned and abandoned when he abruptly left his family.

One night Sandler stumbles on a secret hidden in the basement: if you mend shoes using an antique machine, you can become the shoes’ owners simply by wearing them. This is just the escape he was needing – to slip into 031215-music-method-man-the-cobblersomeone else’s skin, live a more glamourous life, see the city or even just the neighbourhood from someone else’s eyes. This is where The Cobbler becomes Freaky Friday. The body swap schtick means that Method Man gets to do his meanest Adam Sandler impression, and mostly fails. Dan Stevens does passably better, but his time in the film is short.

At any rate, this is a pretty neat party trick that fails to develop into anything exciting or worthwhile. In fact, the results lack any imagination whatsoever. You kind of feel like the director content_Ellen-Barkindangled the carrot, and then put the carrot in his pocket and walked away. Critics on Rotten Tomato have it sitting at a limp 9% although he’s got his mother beat, and his lover too (Reese Witherspoon played his angelic mother in Little Nicky; her film Hot Pursuit’s currently at 7%. Kevin James, who played his pretend boyfriend in Chuck and Larry, is sitting at 6% for Paul Blart: Mall Cop 2). Audiences, however, are much more generous with middle of the road reviews, calling it “watchable,” “potentially charming” and “a slight step up from Adam Sandler’s recent comedies.” Hear that? That’s the sound of ringing endorsements!