Troubled by unfortunate event after unfortunate event The Watch sidesteps faux pas to come out on top as a consistently funny sci-fi comedy that doesn't let its high concept tangle up a bevy of one-liners. The script penned by Jared Stern Seth Rogen and Evan Goldberg assumes you've seen a few movies before entering the theater (mainly any sci-fi movie made in the 1980s). "Summer movie logic" is the foundation for The Watch's ridiculous plot which finds four adult nincompoops teaming up to form a Neighborhood Watch trying to solve the murder of a local Costco employee and eventually pursuing a killer extraterrestrial. Instead of making sense of it all The Watch wisely focuses on its four leads: Ben Stiller Vince Vaughn Jonah Hill and The IT Crowd's Richard Ayoade — a quartet whose bro banter goes a long way in spicing up the dust-covered material. There's nothing revelatory to be found in The Watch but the cast's knack for improv a poetry of the profane makes the adventure worth…viewing.
Director Akiva Schaffer (Hot Rod) establishes his two-dimensional characters quickly and bluntly smashing together broad personality types like a Hadron Collider of cinematic comedy. Stiller's Evan is a micromanaging do-gooder who can't find time for his wife; Hill's Franklin is a mildly disturbed weapons enthusiast yearning to join the police; Ayoade is the quaint weirdo who joins the Watch to fill the void left by his divorce; Vince Vaughn is Vince Vaughn: a loud crass gent looking for a bit of male bonding. The ragtag team assembles to fight crime but they spend most of their time drinking beers in a minivan — an affair they dub "stakeouts." A perfect opportunity for banter.
For a movie about enforcing the law and alien invasions there's a surprising lack of action in The Watch. Long stretches of the film see the central players yapping back and forth about everything: Russian nesting dolls peeing in cans or the similar viscosities of alien goo and human excrement. Charisma goes a long way and Vaughn does much of the heavy lifting making up for lost time out of the spotlight (he's been virtually nonexistent since 2005's Wedding Crashers). The man spits out jokes like no other — the rest of the cast barely keeps up. Ayoade balances out Vaughn's bombardment with a tempered timed delivery that's uniquely British and rarely found on the American big screen. Even when nothing's happening in The Watch it's rarely boring.
The Watch is at its best when it goes a step further mixing the group in with outsiders and throwing them off their rhythm. Billy Crudup cuts loose as a creepy neighbor and its delightfully weird while the always-impressive Rosemarie DeWitt as Evan's wife Abby brings unexpected warmth to the couple's relationship. Sadly The Watch mishandles its greatest asset: the aliens. The film never finds a pitch perfect blend of comedy and science fiction (Ghostbusters or Galaxy Quest this is not); a few scenes where the two come together hint at the best possible scenario but more often than not The Watch avoids its sci-fi roots. A moment in which the guys haul a dead alien back to their man cave plays like an E.T.-inspired version of The Hangover credits. It's lewd and ridiculous but the rest of the film struggles to maintain that energy.
Stiller Vaughn Hill and Ayoade have all proved themselves able funnymen capable of taking weak and tired material up a notch which they're forced to do in every moment of The Watch. Schaffer can handle his talent but his direction isn't adding anything to the mix. By the third slow-motion-set-to-gangster-rap scene The Lonely Island member's obsession with non-cool-coolness is officially just an attempt at being cool (which is not all that funny). The Watch has a greater opportunity than most comedy blockbusters to go absolutely bonkers: it's rated R. But instead of taking its twist and running with it the movie plays it safe. In this case safe is non-stop jokes about the many facets of human reproduction.
The magical R-rating is both a gift and a curse to Adam Sandler's signature brand of lowbrow humor. In That's My Boy the comedian returns to the dim-witted roots that made him a star in early outings like Billy Madison and Happy Gilmore (complete with high-pitched mushmouth accent) but with a ramped up "ew" factor. Unrestrained Sandler piles on as many expletives and gross-out scenarios as a two-hour movie can hold — and it works out quite well. With costar Samberg nailing the disgusted straight man role Sandler's penchant for acting like a fool is enhanced by the sick stylings of director Sean Anders (Sex Drive) and only occasionally teetering into truly offensive territory. Laughs aren't guaranteed but the movie provokes (which is a big step up from Jack and Jill).
Back in the '80s Donny had a secret relationship with his teacher Ms. McGarricle that resulted in a son Han Solo (he's a middle schooler what do you expect?). The torrid affair put McGarricle in jail Donny into celebrity tabloid spotlight and Han Solo in the hands of a tween father. Thirty years later everyone's screwed up: Donny (Adam Sandler) is a drunk on the brink of jail time for tax evasion McGarricle's still in jail and Han Solo (Andy Samberg) now "Todd " is a successful number-cruncher with severe social issues. On the weekend of Todd's wedding Donny reenters his life hoping to bring revive their relationship and reunite him with his mother — that is on camera so Donny can make $50 000 from a gossip TV show and stay out of the slammer. Posing as Todd's long-lost best friend Donny stirs up trouble becoming buddies with Todd's friends and family and acting like a imbecile.
The wedding setup is overdone but always prime for comedy: plenty for a numbskull to screw up logical progression (there's a wedding at the end!) and a bachelor party scene to squeeze in the most disgusting bits and have them make sense. That's My Boy makes the most of its conventions — including what we all know and expect from a Sandler comedy — by continually one-upping itself. After a night of heavy drinking at the local strip club/omelette bar that results in do-it-yourself ear piercing and robbing a convenience store with Vanilla Ice Todd returns home to expel the night's worth of drinking all over his fiancee's wedding dress. Then he makes love to the dress. Then his fiancee (Leighton Meester) wakes up to find the dress. Then it goes even further than one would care to imagine. Grossed out yet? Amazingly lower-than-low brow material is handled with clever timing and great delivery. It's just that the foundation is bodily fluids.
That's My Boy falters when it throws in gags that serve zero purpose to the story. Strange racist humor a mentally retarded bar patron played by Nick Swardson (a Sandler mainstay) random allusions to Todd Bridges' drug habits — barrel-scraping one-offs that have nothing to do with the movie. At two hours the movie needs slimming and the fat is apparent. Thankfully the main ensemble goes to great lengths to make the hard R comedy click with Sandler and Samberg playing well off each other (although Samberg doesn't have the making of a leading man after this movie) and SNL alums like Will Forte Rachel Dratch and Ana Gasteyer driving by to bring the funny. Even Vanilla Ice's extended cameo fits the anything-goes tone playing a version of himself that befriended Donny in his celebrity days. Now he works at an ice skating rink.
After a few lame ducks That's My Boy is a return to form for Sandler. It wavers in quality but it has energy and color. A cash-in this is not and for any Sandler fan with a stomach for hardcore bathroom humor it's a must-see.