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.
September 02, 2010 11:19am EST
When the animated opening credits of Warner Bros. Going the Distance begin a barrage of colorful images envelope the screen shaking and shifting to the sounds of contemporary pop-rock like a hipster-chick in a SoHo lounge. It sets the tone for a lighthearted but levelheaded romantic comedy that like the music is cool and crafty but not completely above the clichés of the tried-and-true genre.
Making her feature-film directorial debut Oscar-nominated documentarian Nanette Burstein (On the Ropes) set out to make a film that as she put it “would feel as real as possible” – a tough job when taking on a studio comedy. But with a relatable premise a punchy script and a cast that possesses a ton of personality she succeeds at delivering a surprisingly fresh film that chronicles the pros and cons of a long-distance relationship between Justin Long’s Garrett and Drew Barrymore’s Erin.
The first half hour is filled with the standard situational set-ups and character introductions that one expects from any film. We learn everything we need (and want) to know about Garrett and Erin: He’s a New York record label workhorse and she’s an aspiring journalist interning at a metropolitan newspaper. They frequent the same dive bar in downtown Manhattan and have a beer and barbeque-wings fueled fling which turns into a steady summer-long relationship. But all good things must come to an end and as September approaches she prepares to head back to Stanford for another semester much to their mutual dismay. However the feelings between them are sincere and they decide to give their spatially challenged relationship a shot.
Real-life couple Long and Barrymore have a few touching moments throughout the film mostly when the trials of their long-distance relationship take a toll but they are a bore in comparison to the supporting cast. Jason Sudeikis and Charlie Day bring frat-house etiquette and bro-mantic charm to the movie as Garrett’s best friends Box and Dan. Together they are the living embodiment of testosterone and man-child — archetypes that have become all-too common in current rom-coms — but with legitimately funny performances they really pay off. Christina Applegate is good for a load of laughs as Erin’s older sister Corinne who is skeptical of Erin’s eagerness to engage in yet another risky romance; she steals the show with her unrelenting commentary.
Going the Distance doesn’t break new ground within the genre or redefine cinematic romance but it balances the sweet and sour moments of its story very well. Burstein minimizes the drama and keeps the comedy raw to maximize the entertainment value of the movie which should please all who purchase a ticket. Somehow the long distance dilemma hasn’t been tackled on film before and that makes the movie appear to be more original that it really is but in a year where so few romantic comedies have brought the goods (The Back-Up Plan Sex and the City 2) Going the Distance does just that.
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.
While passing through Cairo during a sabbatical from the priesthood following World War II Father Lankester Merrin (Stellan Skarsgard) receives an offer from Semelier Ben Cross) a collector of rare antiquities to join a British archeological excavation in the remote Turkana region of Kenya where a Christian Byzantine church has been unearthed. Although Merrin has lost his religion (he left the church after being forced by the Nazis to commit atrocities against people of his parish) the skilled archeologist accepts the mission out of curiosity: The pristinely preserved church dates back more than 1 000 years before Christianity even reached the East African plain. Once there Merrin anxiously heads to the excavation sight and enters the partially buried church to discover it has been vandalized--or so he thinks; a large wooden cross has been broken and hung upside down. He also encounters Dr. Sarah Novack (Izabella Scorupco) who runs a local hospital and informs the men that the last man in charge of the excavation had gone mad and was now in a sanitarium in Nairobi. The mystery thickens when a local boy Joseph (Remy Sweeney) shows signs of satanic possession. The Turkana blame the mysterious church for the unexplained supernatural activity including a woman's delivery of a Satan-like maggot-covered still born infant. Soon tension mounts between the Turkana and the British troops stationed there.
Poor Skarsgard. To his credit the veteran actor tries his best to add a dash of distinctiveness to his underdeveloped character Father Merrin. Skarsgard (King Arthur) supplies Merrin with an air of attitude a sort of aloofness that screams I don't owe anyone anything. Armed with brute strength and fearlessness (he moves a large concrete slab without breaking a sweat and crawls through unlit basements without ever flinching) Merrin is practically transformed into sexy religious superhero. But Skarsgard even can't escape the silly dialogue that explains what is self-explanatory. "If everyone died who buried them?" Merrin asks aloud outside a cemetery where a plague supposedly whiped out the village's population. Scorupco (Reign of Fire) meanwhile doesn't inject anything extra into her rather forgettable role as Sarah a rather sweet but boring physician. Her metamorphosis in an identical looking Regan MacNeil form the original 1973 Exorcist however pumps some much needed thrills into what's otherwise lackluster horror. One of the most memorable performances comes from Alan Ford (Brick Top Polford form Snatch) who plays a perpetually drunk archeologist with a putrid skin ailment. Ford's rendition of Jeffries is so alarmingly disgusting that it makes Lucifer look like a sweetie pie.
The best thing about Exorcist: The Beginning is its deceptively promising opening set in Africa in the mid 400s. It's an eerie scene bound to make audiences' hair stand on end as a lone bedraggled priest slogs through a dry and dusty plain littered with millions of corpses nailed to upside-down crosses. But in its post-World War II setting the film suffers a setback both in storytelling and visuals. The film was originally directed by Paul Schrader who replaced helmer John Frankenheimer who died before filming began. But producers reportedly thought Schrader's version wasn't frightening enough and handed the reins over to Renny Harlin (Driven) in hopes he would turn out a more spine-chilling rendition. But sadly there is no chilling of the spine to be experienced here. Harlin uses horror film clichés to spook the audience like the faithful light-going-out-in-dark-settings scenario that the film feels more like an episode of Scare Tactics. Harlin's special effects are laugh-out-loud funny too including his inane man-eating CGI hyenas with beaming blue eyes. The beasts move about the screen as if they have no weight or substance to them. What makes those cartoony hyenas even sillier though is the fact that their presence is not needed (they're hardly scary) or even explained which pretty much sums up the film's biggest problem: The spotty story leaves too many questions unanswered. The script credited to Caleb Carr and William Wisher and later revised by Alexi Hawley is so vague it's irritating.
It's graduation day for Scotty (Scott Mechlowicz) but the celebration comes to an abrupt end when his girlfriend Fiona (Kristin Kreuk) dumps him by blatantly announcing she has been unfaithful to him--over and over again. At a graduation party that night Fiona makes her point by jumping on stage during rockers Lustra's performance of "Scotty Doesn't Know " which goes something like this: "Scotty doesn't know that Fiona and me do it in my van every Sunday..." Dumbfounded Scotty gets drunk and goes home to confide in his Berlin-based computer pen pal Mieke (Jessica Boerhs) who suggests coming to America for a "rendezvous." Scott rudely rebuffs him (and that's putting it mildly) not aware that Mieke is not a guy but actually a really hot high school girl. He tries to make amends but Mieke won't read his e-mails so his pal Cooper (Jacob Pitts) convinces him to go to Berlin and meet her face-to-face. Short on cash they take a cheap courier flight to London where they meet up with twin pals Jenny (Michelle Trachtenberg) and Jamie (Travis Wester) before hopscotching to Amsterdam Bratislava Rome Vatican City and finally Berlin. Of course the chase is always better than the kill and Eurotrip is no different: Whether Scotty gets Mieke is beside the point; the amusement is all in the journey there. Who knew for example that you could spend the night in a five star hotel and partake in a night of clubbing in Eastern Europe on $1.87 U.S.-and still have 27 cents left over when it's all over?
Newcomer Mechlowicz is perfectly cast as the lead here playing a character that is simple-minded daring sympathetic and charming. But it's Mechlowicz's personal spin--his bewildered expressions--that really nails the role for him whether he is witnessing the twins accidentally making out on the dance floor in a drunken stupor or waking up to find a strange passenger cozying up to him on a train. As his buddy Cooper Pitts (K-19: The Widowmaker) plays the wisecracker of the bunch and although he doesn't go over the top with the crassness there is a little too much David Spade influence in his delivery (and the similar haircuts don't help the matter either). Like the rest of the cast Wester is careful not to typecast his character Jamie a meticulous planner who can't travel without Frommer's by loosening him up slightly. Jamie for example knows when it's time do drop the book and experiment even if it means nude sunbathing. Trachtenberg (Buffy: The Vampire Slayer) also infuses her twin character Jenny with the perfect blend of sexuality and innocence. The result is a cast of mishmash characters that are just so darn likeable. Look for a surprise cameo from Matt Damon as well as small but hilarious performances from Vinnie Jones as Mad Maynard a Manchester United soccer hooligan; Lucy Lawless as S&M mistress Madame Vandersexxx; and Saturday Night Live's Fred Armisen credited as "the creepy Italian guy."
Jeff Schaffer makes his directorial debut here from a screenplay co-written with his longtime partners scribes Alec Berg and David Mandel. And ads touting it as a comedy "from producers of Road Trip and Old School " may be exactly what Eurotrip a comedy starring relative unknowns needs to draw the coveted teen crowd. After all Ivan Reitman the producer responsible for catapulting low budget comedies into box-office gold territory has secured quite a following--and fans won't be let down with this latest offering. Unlike its predecessors Eurotrip isn't afraid to be crass and while the characters are sweet the storyline is anything but. In this Euro-centric tale writing trio Schaffer Berg and Mandel proudly embrace every stereotype imaginable but do so at the expense of the inexperienced foursome which makes the material funny rather than offensive. Nude beaches the young Americans discover aren't necessarily packed with hot gorgeous women and Amsterdam's sex industry isn't exactly the stuff young male fantasies are made of. With one hilarious gag after another as well as funky map graphics with dotted lines that transport viewers from city to city the film maintains its fast-moving pace throughout. Surprisingly the film was shot entirely on location in the Czech Republic with Prague doubling as London Paris Berlin Amsterdam Rome Vatican City Bratislava--and even Hudson Ohio with landmarks such as the Eiffel Tower the Coliseum and Big Ben added using CGI. Accompanied by an awesome soundtrack featuring Lutsra's "Scotty Doesn't Know " Chapeaumelon's "My Generation" and The Salads "Get Loose " this film succeeds on all levels.