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.
There are two ways to watch a film like Just Go With It. The first is to look at the characters and situations as if they existed in the real world. Through this lens as with most Hollywood productions the story is far-fetched and trite the characters too stereotypical to stomach. However even if you leave practicality at home and well just go with it it’s hard to find anything to enjoy in Adam Sandler’s new movie about a playboy plastic surgeon that convinces his assistant to pose as his ex-wife in an attempt to woo a new lady friend.
Danny Maccabee is afraid of having his heart broken like it was when he was in medical school so he uses his would-be wedding ring from a disastrous engagement as a chick magnet because you know all single ladies love married men. However when he finally meets and beds the girl of his dreams the tactic backfires as she thinks she’s just wrecked a home. Enter Katherine (Jennifer Aniston) Danny’s ordinary (well ordinary when compared to bombshell Brooklyn Decker) office mule who is lured into an ever-expanding web of lies so that he can win his Ms. Right.
The film’s weakest link is its script from writers Timothy Dowling (Role Models) and Allan Loeb (The Switch). Their simple story relies heavily on Sandler’s tried-and-true formula of physical gags and broad family humor offering the audience nothing they haven’t seen before and virtually no organic comedy. While the premise and principle players are very predictable the supporting cast injects some life into the picture most notably young starlet-in-training Bailee Madison whose cutesiness is the only thing I didn’t get sick of throughout the film. Honorable mentions also go to Nick Swardson as Sandler’s crazy cousin and Nicole Kidman who ought to try her hand at comedy more often.
Unfortunately their charm doesn’t compensate for the film’s uneven pacing. I was incredibly bored throughout the second act which is hampered by scenes that play longer than they should but biggest conundrum is Sandler himself: the main draw in Just Go With It as well as its most unlikable element. His character’s arc not to mention his performance is about as artificial as the breasts he gives his clients. Not only is Maccabee a self-centered liar; his deceptions go unpunished as he coasts through the film’s climax into happily-ever-after territory. Some will accept even embrace the Hollywood ending but the conclusion is a loss for Aniston’s character who is otherwise pleasant to watch. A dignified single mother she’s at first reluctant to help Danny due to the immoral nature of his plan but falls for him because he eventually develops a relationship with the kids. I guess she didn’t see him throw them in the mud earlier in the movie.
Generally speaking the greatest strength a contemporary romantic comedy has is its funny factor but director Dennis Dugan unexpectedly creates a comfortable quixotic vibe in Just Go With It which is surprising considering his past endeavors with Sandler (among them I Now Pronounce You Chuck and Larry and Grown Ups). It doesn’t make up for the lack of natural laughs but will sate the target audiences’ appetite for a harmless and forgettable Valentine’s Day snack.
Skeeter Bronson (Adam Sandler) is a handyman at a hotel his father once owned. When Skeeter’s dad sold it to Mr. Nottingham (Richard Griffiths) it was with the proviso that Skeeter would one day become manager but unfortunately the job is given to Skeeter’s main nemesis Kendall (Guy Pearce). But Skeeter’s luck is about to change. While babysitting for his niece and nephew (Laura Ann Kesling and Jonathan Morgan Heit) Skeeter starts telling them bedtime stories that come to life the next day using characters from his real life including the kids and their mom’s best friend Jill (Keri Russell). Set in Medieval Times Ancient Greece the Old West -- and even outer space -- the stories usually show Skeeter triumphing over the bad guys like The Booger Monster and Sir Buttkiss. And beware of raining gum balls; it’s that kind of movie. Adam Sandler’s teaming with Disney is an inspired idea since his humor has always had a juvenile Jerry Lewis-style flavor -- even in his more adult-oriented comedies. Leaving the gross-out comedy behind this time Sandler proves he is a perfect fit for this kind of harmless rather broad PG-formula family flick that should prove to be loads of fun for the youngest audience members. He’s a riot in some of the get-ups he is forced to wear coming off best in the Ancient Greece sequence. Keri Russell is sweet and attractive as a foil for a lot of Sandler’s hijinks while Courteney Cox as Skeeter’s uptight sister is given virtually nothing to do in the mom role. The kids are cute in a Disney Channel kind of way but often seem a little precocious for their own good. Work colleagues are played rather one dimensionally by Pearce and Griffiths but they all seem to be having fun inhabiting various stereotypical characters in the stories. Teresa Palmer is lovely as the owner’s daughter and the innocent object of Skeeter’s affections. Director Adam Shankman (Hairspray) brings lots of color and verve to the film but knows what Sandler fans expect -- even in a kids comedy. Giving the film a necessary light touch he ably moves it along through the various set pieces and special effects sequences that are required to bring all these imaginative shenanigans to life. Similar in many ways to Ben Stiller’s Night at the Museum the production values of the bedtime stories at the film’s center don’t seem to be as elaborate or technically savvy as they might have been with a larger budget. Still the cast seems to be having a great time and it’s all in the name of some harmless fun that parents should feel safe taking their kids to this holiday season.
When eccentric writer/director John Waters made the subversive but colorful Hairspray in 1988—about a plus-sized girl and her dreams to dance as she breaks taboos in the early ‘60s—he probably thought it would be chalked up as another of his cult favorites. But here we are reviewing the latest Hairspray incarnation a movie version of the smash hit Broadway musical based on the 1988 offbeat classic. Funny how things work. The story is pretty much the same: The bubbly Tracy Turnblad (Nikki Blonsky) a big girl with big hair and an even bigger heart wants to dance on Baltimore’s TV dance show The Corny Collins Show. Her mother Edna (Travolta) isn’t too keen on her daughter’s aspirations only because she doesn’t want to see Tracy hurt. But against all odds Tracy wows them on and off the TV screen squashing the reigning princess Amber Von Tussle (Brittany Snow) finding love with the local hunk Link (Zac Efron)—and fighting for racial equality on the hippest dance party on TV. Tracy is the cornerstone to making Hairspray zing—and every actress who has played her has nailed it in her own way. Ricki Lake gave us a good start as the original; Marissa Jaret Winokur won a Tony playing her on Broadway. Now we have brilliant newcomer Nikki Blonsky a former ice cream parlor employee who beat out several hundred girls to win the role. Her happy-go-lucky Tracy quite literally lights up the screen every time she appears and you find yourself grinning like a fool the whole time she is shimmying and shaking. Let’s hope she isn’t just a one-trick pony. The supporting cast is also very appealing. Michelle Pfeiffer who once again gets to use those lovely pipes of hers is perfectly unctuous as Velma Von Tussle Amber’s scheming mother and the TV station manager. Queen Latifah adds her certain joie de vivre as Motormouth Maybelle the host of Corny Collins’ “Negro Day.” Also good are Amanda Bynes as Tracy’s lollypop-eating best friend Penny Pingleton and Elijah Kelley as the groovin’ Seaweed Penny’s forbidden love. The one drawback is Travolta as the oversized Edna. He does a fair job as the caring mom who is reticent to let her daughter go out into the big bad world. We can even see the old Travolta we know and love come alive when Edna dances. But because the actor simply looks so very wrong in latex and lipstick it takes away from the performance. No one can really surpass the late Divine the original Hairspray’s Turnblad matriarch who did it au naturel. Directing a movie like Hairspray is basically a no-brainer and choosing Adam Shankman to helm is as good a choice as anyone else. He is certainly not known for his cinematic genius having directed fluff such as Cheaper by the Dozen 2 and The Pacifier but he understands the bubblegum appeal of a bee-bopping musical. Fueled by catchy tunes from the Broadway show plus a few new ones created just for the movie Shankman orchestrates the big song and dance numbers—of which there are plenty—in such a way to get you moving in your seat every time. He also frames his talent in their more personal character-driven songs with a steady hand. I just wonder what John Waters would have done with it. Maybe a little more dog poop? In any event forget about Chicago and Dreamgirls--Hairspray is the perfect popcorn movie musical that will get everyone dancing and singing the way Grease did a generation ago.
As a legendary Coast Guard Rescue Swimmer Ben Randall (Kevin Costner) was all heart and no regret. But it all comes undone in the span of one night when he goes out to the menacing seas with his crew to make a rescue and he is the sole survivor. Following that fateful night he’s ordered to teach at “A” School--a demotion for a man of his stature and seniority--an elite training program that helps turn the best recruits into the best Rescue Swimmers. Randall teaches the cocky students the only way he knows how and his tough tough love is initially met with skepticism by his fellow trainers who think of him as a has-been. But one student in particular Jake Fischer (Ashton Kutcher) catches his eye and draws his ire. Fischer is cocky hotheaded and highly skilled--just the right pedigree to make a great Rescue Swimmer and a lot like Randall was at his age. Randall rides him extra-hard while Fischer only hopes to one day be in the same boat as his mentor. Be careful what you wish for Jake! Costner's always been an acquired taste--sometimes a downright noxious one on first bite--but there's no denying he slides right in here. Roles that feature him as the aging provider of wisdom are now his true calling and the sooner he accepts it the better. And even still Costner gets to flex his action muscle a bit. As for Kutcher the only thing he shares in common with Costner is the last two letters of his last name--as actors these guys are each other’s antitheses! And in a weird way they strike a nice chemistry because of it one that is borderline exciting to watch. As a standalone actor in The Guardian Kutcher is a bit misplaced and seems to know it. He nails the physicality of the role but while the character's attitude and brashness befit Kutcher the peak dramatic scenes with Costner leave something to be desired. A pleasantly surprising turn from relative unknown Melissa Sagemiller (The Clearing) as Kutcher's girl toy and reliable supporting performances from Sela Ward and Neal McDonough round out the cast. Director Andrew Davis' proximity to his career peak The Fugitive cannot be measured in time: He's a lot further away from the mega-hit than a mere 13 years. But in Hollywood if you have a Fugitive under your belt you'll never run out of chances to replicate it. That's the current juncture for Davis--one last shot at Fugitive glory...till his next last shot. It's hard to say what The Guardian will do at the box office but Davis' stodgy direction doesn't necessarily help its chances. The movie can be boiled down to awful pacing: the first and last 15 minutes are high-octane action and everything in between is low-octane Top Gun (the non-action scenes!). That blame belongs to Davis and writer Ron L. Brinkerhoff. But only Davis can shoulder the other flaws such as a single scene of dubious camerawork--filmed to look like handheld-montage style completely deviating from the movie's context--and the special effects during the somewhat cheesy action sequences which may remind you of a theme-park tour during which you learn how they filmed a boat scene...in the '80s!
Along Came Polly has a place in a tiny niche of the romantic comedy genre that one might call "Poopy Love." You know these movies; they feature a nerdy guy usually played by Ben Stiller whose love interest witnesses him in the throes of some scatological or penile trauma yet falls in love with him anyway. The comedy throughout must be gross and whenever possible breast pee-pee or sphincter-related. The girl is usually a childhood friend (à la There's Something About Mary) who's grown up to be a beautiful if quirky creature--she'd have to be to fall in love with a guy who gets his wiener caught in his zipper on prom night discusses milking the cat at her parents' dinner table (à la Meet the Parents) or as in the case of Along Came Polly contracts a massive case of the squirts on their first date after eating spicy food with his fingers. But it's all in the spirit of fun as the love interest teaches the uptight guy to embrace life and there's much hilarity on the road to romance--as well as a fairly irrelevant subplot whose sole purpose is to show us what a great guy the hero is.
As Polly's leading man uptight newly wedded insurance risk assessor Reuben Feffer Stiller proves he's still the undisputed king of Poopy Love films by hamming it up to the hilt whether he's showing off his newly acquired salsa skills or making his misery and anger palpable--and physical--when his bride Lisa (played very straight by Debra Messing) has a fling on the first day of their honeymoon in St. Barts with French scuba instructor Claude (a very naked very toned very funny Hank Azaria). Crestfallen and bitter Reuben returns to the Big Apple alone and while at an art show with his best friend former child actor Sandy Lyle (Philip Seymour Hoffman) bumps into an old school chum the free-spirited Polly Prince (Jennifer Aniston). The uproar begins in earnest with Hoffman on the scene--his egomaniacal former child star is a funny tub of pomposity and insecurity--and he and Stiller have nice comic chemistry together. That's more than can be said of Aniston who doesn't seem to want to get her hands dirty even though the script offers her the opportunity. She never really participates physically in the comedy the way Cameron Diaz did in Mary--she simply reacts to Stiller's antics. Her character's pet ferret gets more laughs.
Like Stiller Along Came Polly's director and screenwriter John Hamburg is no stranger to Poopy Love having written the outrageous script for Meet the Parents and the less clever though highly original Zoolander. The jokes in Polly seem limited in comparison with a high reliance on pooping farting "sharting" (when you fart and a little poo comes out) and of course the old took-a-dump-in-your-girlfriend's-bathroom-and-the-toilet-won't-flush gag. That doesn't mean the movie's not funny--it is. There's just not much here we haven't seen before.