“Jack And Jill” (2011)
Life imitates art: as George Simmons in “Funny People,” it seemed as if Adam Sandler was able to mock his sometimes (ahem, frequent) craven commercial pursuits in making pictures that appeal strictly to the lowest common denominator, buoyed by his silly faces and “funny” voices. Of course, “Funny People” was a noted flop, and somewhere in that thought process, Sandler must have felt that the film’s rejection somehow validated Simmons and his choices. Hence, “Jack And Jill,” which casts Sandler as both a thinly-veiled version of himself (here, a layabout Hollywood ad man) and his obnoxious, oversharing sister. The plot is humiliating for all involved, as Sandler’s Jack Sadelstein eventually finds a way to justify his sister’s presence by foisting her on a horny Al Pacino (Al Pacino) (Al Pacino!) in an attempt to convince the superstar to sign on for a Dunkin Donuts campaign that conveniently keeps Sandler’s penchant for product branding in all of his films alive and well. The surprise, if one could consider such a thing, comes from the fact that for the first time in years, Sandler is giving a real performance as Jill. It’s odd that the typical Sandler cruelty is present in this picture, considering Sandler himself creates a persona in Jill not only with a certain sadness to her, but also a definitive ethnic identity, which Sandler often prefers to downplay. Sandler hit-maker Dennis Dugan (“Big Daddy,” “You Don’t Mess With The Zohan”) proves that as a director, his sycophancy cannot be trumped by his ineptitude, consistently cutting away from Jill for cheap reaction shots or slapstick garbage, giving the feeling that, for the first time Sandler and his collaborators may not be on the same page. [D]
“Just Go With It” (2011)
In another excuse for Adam Sandler to get a paid vacation with a few A-listers in tow, “Just Go With It” is actually a very loose remake of the 1969 film “Cactus Flower,” mostly remembered as the film that gave Goldie Hawn her Oscar. Well, remake might not be right, how about vague interpretation? Sandler plays an L.A. plastic surgeon who lies to women about being in an unhappy marriage in order to get them into bed without all of that commitment nonsense. Because you know, every woman in her right mind is dying to be in a committed relationship with Adam Sandler, M.D. Really, as the title says, you just have to go with it, as Sandler attempts to woo Brooklyn Decker by using Jennifer Aniston, his assistant, and her kids as props (with Aniston acting as Sandler’s fictional unhappy wife) on a “family” getaway to Hawaii (adding another stop on the crazy train, Aniston is meant to have cheated on Sandler with Happy Madison cohort Nick Swardson, whose character is also in on Sandler’s ruse and joins in on the “family” trip last minute). With all plausibility and rationale out the window, it’s still a ridiculously convoluted and unfunny movie with overtly sexist overtones, particularly how Sandler sees Aniston in a whole new light once he sees her in a bikini. How they got Nicole Kidman onboard to play Aniston’s rival and actually do the awkward hula-off, we hope never to find out. Through Happy Madison magic and a movie-going public that’s given up, “Just Go With It” made over $214 million worldwide, which means we may see a “Just Go With It Again” in theaters Summer 2015. Godard, help us, help us all. [D+]
“Grown Ups” (2010)
If you’ve got the money, might as well flaunt it, and “Grown Ups” is the ultimate celebration of the empire built by Happy Madison. The threadbare plot, involving the reunion of a former high school basketball team upon the passing of their coach, is a flimsy excuse to pair Sandler with fellow superstars Chris Rock and Kevin James, as well as professional barnacles David Spade and, again, Rob Schneider (who apparently made some enemies after the film’s release, getting booted for the sequel). The five actors bounce against each other like slow-moving props, directionless and vacant, as they seem to count their dollars before the audience. While their characters take long walks in the woods, go swimming at a local water park and generally act the way people who have never worked a single day of menial labor would, the audience is forced to endure the sort of schtick that feels rejected from these actors’ other works, including Spade’s feeble, boyish horndog act, and James’ proclivity for self-harming slapstick (Sandler and Rock, in contrast, just seem exhausted). “Grown Ups” is a film of little conflict and less substance, climaxing in a patronizing basketball game where Sandler’s notably upper class crew face off against former classmates who have become local townies (played by lesser “SNL” vets, appropriately), a class distinction that Sandler condescends towards by allowing his crew the loss, claiming that the other side “needed” the victory. How magnanimous of you, Sandler the superstar. [F]
