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.
Of course 21 isn’t just about blackjack. It’s more about Ben Campbell (Jim Sturgess) a shy but brilliant M.I.T. student who--needing to pay Harvard medical school tuition--finds the answers in the cards so to speak. After dazzling his unorthodox math professor and stats genius Micky Rosa (Kevin Spacey) with some mathematical prowess Ben is quickly indoctrinated into Rosa’s group of “gifted” students who head to Las Vegas every weekend with the know-how to count cards and beat the casino at the blackjack tables. And win big they do. Ben is soon seduced by the allure of this luxurious lifestyle including his sexy teammate Jill (Kate Bosworth) but begins rebelling against the well-oiled machine Rosa has built. Apparently you don’t want to cross this particular math professor--nor the old-school casino security consultant (Laurence Fishburne) who has set his sights on Ben as a master card counter. It’s not illegal to do that but the casinos don’t much like it when they catch you doing it. Hey what happens in Vegas…oh you know the rest. The most well-rounded performance comes from the British Sturgess best known for singing Beatles’ songs in Across the Universe. His Ben starts out as a naive math whiz/nerd whose biggest thrill is designing the perfect science project for an M.I.T. contest but then becomes the smooth Vegas dude with the nice clothes and hot girlfriend and finally turns into the guy who eventually loses it all. It’s not hard to see just how much Ben is going to change once he gets involved in the moneymaking scheme but Sturgess handles the transition with aplomb. The stiff Bosworth isn’t nearly as effective as his love interest but she has her moments. Also good for comic relief is Aaron Yoo (Disturbia) as one of the blackjack players who oddly enough is also a kleptomaniac. The performance drawbacks in 21 come from the more veteran players. Spacey and Fishburne seem to be going through the motions utilizing techniques they’ve used many times before. Spacey can whither whoever it is with that look of his while Fishburne postures as he always does. It’s too bad they couldn’t have put in more effort. As with any movie in which the action is inherently stagnant (i.e. sitting at a blackjack table) the question is how to keep things visually stimulating. That’s where director Robert Luketic--who up to this point has only done broad comedies such as Legally Blonde and Win a Date with Tad Hamilton--comes in. Luketic does a fine job maneuvering the camera around the tables creating slo-mo close-ups of the cards and incorporating a cool soundtrack. A good montage or four usually can also work well in a situation like this and Luketic fully utilizes that technique--from the kids winning to them spending their money in gloriously obscene ways. Based on the book Bringing Down the House: The Inside Story of Six M.I.T. Students Who Took Vegas for Millions 21 has the extra advantage of being a somewhat true story as well. But the script from Peter Steinfeld and Allan Loeb basically copies from other sources and never really distinguishes itself.