Showing posts with label Adam Sandler. Show all posts
Showing posts with label Adam Sandler. Show all posts

Saturday, 7 February 2026

Movie Review: Just Go With It (2011)


Genre: Comedy  
Director: Dennis Dugan  
Starring: Adam Sandler, Jennifer Aniston, Nicole Kidman, Nick Swardson, Brooklyn Decker  
Running Time: 117 minutes  

Synopsis: Plastic surgeon Danny (Adam Sandler) has never been married, but always pretends to be stuck in a bad marriage to enjoy commitment-free flings. When he meets and falls in love with school teacher Palmer (Brooklyn Decker), Danny recruits his office manager Katherine (Jennifer Aniston) as his pretend soon-to-be-ex-wife.  A series of deceptions ensue, resulting in Danny, Palmer, Katherine, her two kids, and Danny's cousin Eddie (Nick Swardson) heading to a Hawai'i vacation. The appearance of Katherine's frenemy Devlin (Nicole Kidman) at the vacation resort adds further complications.

What Works Well: This is a surprisingly sharp and often quite funny comedy with a dash of romance. The script (by Allan Loeb and Timothy Dowling) is packed with laugh-ready characters, including Katherine's quirky kids, the easy-to-mock Devlin, and the out-there Eddie. Highlights drop in from all directions, including an assortment of plastic surgery mishaps, a hula dancing face-off, a coconut competition, and a sheep in distress. Jennifer Aniston and Adam Sandler share an easy chemistry and roll with plenty of improvised dialogue, while director Dennis Dugan provides bright and cheerful surroundings.

What Does Not Work As Well: Of course Danny's entire predicament would have been resolved with an early commitment to the truth, and for a flighty comedy, the running time could have used a trim. Nick Swardson as cousin Eddie occasionally threatens to exceed his good-in-small-doses limits.

Key Quote:
Palmer (upon finding a wedding ring in Danny's bag): What's this?
Danny: A circle?



All Ace Black Movie Blog reviews are here.

Wednesday, 17 December 2025

Movie Review: Jay Kelly (2025)


Genre: Drama  
Director: Noah Baumbach  
Starring: George Clooney, Adam Sandler, Laura Dern, Billy Crudup, Patrick Wilson, Stacy Keach, Emily Mortimer, Greta Gerwig, Isla Fisher, Jim Broadbent, Riley Keogh  
Running Time: 132 minutes  

Synopsis: Jay Kelly (George Clooney) has enjoyed a 35-year career as a movie star. He wraps-up filming on his latest production, and his manager and life-long friend Ron (Adam Sandler) expects Jay to quickly transition to his next project. But a chance encounter with Timothy (Billy Crudup), a former friend from acting school days, forces Jay to re-evaluate his life. Having neglected all his family relationships, he takes off to Europe with Ron and publicist Liz (Laura Dern) to get reacquainted with his daughter, but forging genuine human connections does not come naturally to a lifelong actor.

What Works Well: Reflecting aspects of star George Clooney's reality, this is an introspective, thoughtful, yet also peppy and often humorous examination of choices. The script (cowritten by director Noah Baumbach and co-star Emily Mortimer) is neither judgmental nor moralizing, and avoids pat resolutions. Achieving and sustaining movie star fame meant Jay was never a good father, and he gained much more from his friendship with Ron than he ever reciprocated. Decisions and actions are presented as realities and trade-offs rather than rectifiable regrets, and Jay's reflections are rich with in-the-moment dilemmas, awkwardness, and poignancy. The superlative cast includes Stacy Keach as Jay's father, Patrick Wilson as another actor managed by Ron, Jim Broadbent as a mentor, and Riley Keogh as one of Jay's daughters. Many of the supporting characters are provided with well-rounded lives to add depth, texture, and context.

What Does Not Work As Well: The running time is longer than it needs to be.

Key Quote:
Jay Kelly (acting a death scene): That's the crazy thing...everything you thought you were...isn't true.



All Ace Black Movie Blog reviews are here.

Saturday, 6 September 2025

Movie Review: Murder Mystery (2019)


Genre: Crime Comedy  
Director: Kyle Newachek  
Starring: Adam Sandler, Jennifer Aniston, Terence Stamp, Gemma Arterton, Luke Evans  
Running Time: 97 minutes  

Synopsis: New York City beat cop Nick Spitz (Adam Sandler) pretends to be a detective to impress his wife Audrey (Jennifer Aniston), a hairdresser. While traveling on a cheap European vacation, they meet the dashing Charles Cavendish (Luke Evans), who invites them to a yacht off Monaco. Nick and Audrey are misfits in the company of Charles' ultra wealthy uncle Malcolm Quince (Terence Stamp), his new young bride, his useless son, his former bodyguard, the bodyguard's bodyguard, a glamorous actress (Gemma Arterton), a racing car driver, and a Maharajah. When a murder is committed, Nick and Audrey are prime suspects and have to solve the crime to clear their names.

What Works Well: A breezy, never-too-serious crime comedy that rides good chemistry between Adam Sandler and Jennifer Aniston. A murder-most-foul Agatha Christie whodunnit ambience, plenty of fish-out-of-water vibes, and a few good laughs complement the two stars. The glitzy European locations are attractive, and the efficient running time keeps the action humming.

What Does Not Work As Well: Killing off most of the suspect list (and they die early and often) is not the most clever way to maintain mystery and investigative momentum. Other than Nick and Audrey, the characters are superficial stereotypes, and of course the plotting is frivolous and less than interested in any logic.

Key Quote:
Audrey Spitz: What's that?
Charles Cavendish: That is the Quince dagger. Chinese steel, jewels from across the Orient. A gift to the family from Marco Polo. Or so the legend says.
Audrey Spitz: God. Nick's grandmother gave us a toaster from Sears. Or so the legend says.



All Ace Black Movie Blog reviews are here.

Wednesday, 18 November 2020

Movie Review: Uncut Gems (2019)

A high-energy drama and character study, Uncut Gems draws power from a hustler teetering on the edge of either ruin or the win of a lifetime. 

The setting is 2012 in New York's Diamond District. Howard Ratner (Adam Sandler) runs a jewelry business but is in over his head. Addicted to betting on basketball and a serial liar, Howard owes money all over town, including a large amount to his brother-in-law Arno (Eric Bogosian). Howard is married to Dinah (Idina Menzel) but is openly having an affair with his store assistant Julia (Julia Fox). 

With Arno's goons applying increasing pressure, Howard obtains a rare and potentially precious black opal mined in Africa. His client contact Demany (Lakeith Stanfield) brings Celtics basketball star Kevin Garnett (playing himself) into the store, and he is immediately entranced by the rock, believing it has mystical powers and will elevate his game. Howard spots an audacious opportunity of a lifetime to bet on Garnett's performance and cash in on the opal to wipe out his debts.

Exceptionally foul-mouthed and manipulative, Howard Ratner is a compelling and deeply flawed man, but also unfortunately not an individual worth caring about. The writing/directing team of brothers Josh and Benny Safdie invest an over-long 135 minutes into Howard's antics, and while a train wreck fascination is undeniable, protagonist sympathy never materializes and ultimately Uncut Gems is dragged down by the stench of self-destruction.

Displaying few if any redeeming qualities, Howard believes he is smarter than everyone else and can say anything to anyone at anytime just to feed his self-gratifying addictions. In fact he is a pathetic loser with dwindling options, and while pity emerges as the strongest theme, it is doubtful Howard is even worth that.

Embracing the unappealing moral darkness at the center of the film, Adam Sandler sheds his more typical lightweight screen persona and delivers one of his career best performances, bulldozing through multiple chapters of windfalls and catastrophes as Howard craves only the next thrill. With the Safdies overly enamored with the star power of Garnett and singer The Weeknd, the supporting cast is thin and the secondary characters fleeting, Howard's attention span insufficient to give due prominence to anyone else.

The aesthetics are a potent combination of gritty and stylish, although an early visit to the Ethiopian gem mines promises more than it delivers. With an obnoxious soul, Uncut Gems is a loudmouthed rock offering only a grimy shine.



All Ace Black Blog Movie Reviews are here.

Saturday, 9 March 2019

Movie Review: Click (2006)


A social fantasy comedy with lessons about life, Click provides passable humour and some genuine warmth despite the predictable message fare.

Michael Newman (Adam Sandler) is an architect working hard to impress his insufferable boss John Ammer (David Hasselhoff), but at the expense of neglecting his wife Donna (Kate Beckinsale) and two kids Ben and Samantha. Michael also has little time for his parents Theodore and Trudy (Henry Winkler and Julie Kavner), and believes all his hard work will pay off when he is promoted to partner, but in the meantime life is passing him by.

Michael goes shopping for a universal remote control, and eccentric salesperson Morty (Christopher Walken) gives him a brand new unit for free, on the condition that it cannot be returned. Michael discovers that with this remote control he can mute and pause those around him, and fast forward through tedious parts of his life including chores and arguments, jumping ahead to trouble-free and pain-free moments of success. But soon the remote control starts acting on its own based on memorizing Michael's previous wishes, and he loses control of his life.

Mixing familiar elements from movies as diverse as It's A Wonderful Life, Groundhog Day and The Family Man, Click is unambiguous about pushing the message of life as a journey, not a destination. By the standards of Adam Sandler, this is a reasonably controlled and well-packaged effort, mixing his trademark juvenile bathroom humour with plenty of moments lamenting the personal fallout from the single-minded drive to achieve perceived career success.

Beyond the family-first mantra, the film's other theme is simple but also eternal: personal and professional life is a mix of good and bad, and there is no joy to be had in moments of triumph without the effort to get there.

For all the message-heavy emphasis, the crassness demanded by Sandler's fans is still here: director Frank Coraci delivers a succession of dogs dry-humping a large stuffed toy throughout the film. Farts in the face stand proudly alongside kicks in the nuts and pull-down-the-trousers antics to satisfy the child brains in the audience.

But proving again that when surrounded by enough talent on both sides of the camera Sandler can do better, Click also seeks out tender moments of reflection and sorrowful hindsight between fathers and sons. It's not subtle and the performances err on the obnoxious side (Walken and Hasselhoff the prime culprits), but Michael's fantastical adventure with the magical remote control has its heart in the right place.






All Ace Black Blog Movie Reviews are here.


Saturday, 29 September 2018

Movie Review: Reign Over Me (2007)


A drama about friendship and loss, Reign Over Me treats a difficult topic with sensitivity but eventually spreads itself too thin.

In New York City, Dr. Alan Johnson (Don Cheadle) is a successful dentist, married to Janeane (Jada Pinkett Smith), although tensions are developing in their relationship. He anyway resists the sexual advances of new patient Donna (Saffron Burrows), and clumsily tries to get advice from therapist  Dr. Angela Oakhurst (Liv Tyler). Alan then spots his old college roommate Charlie Fineman (Adam Sandler) roaming the streets on a motorized scooter.

Charlie lost his wife and three daughters in the September 11, 2001 terrorist attacks, is suffering from severe post-traumatic stress disorder, and has withdrawn into a shell of a man, spending most of his time playing a video game and repeatedly remodelling his kitchen. Alan makes a big effort to reach out and spend time with his friend, and as a result drifts further away from his own family. Charlie meanwhile refuses to talk about his personal loss, leaving Alan to wonder how much he should push Charlie to seek professional help.

Written and directed by Mike Binder, Reign Over Me delves into the world of grief and dysfunction caused by immense loss. The subject matter is not easy, but an astute script and two excellent central performances from Adam Sandler and Don Cheadle keep the film grounded while avoiding excessive sentimentality. The film boasts a sleek look, with plenty of nighttime filming as Charlie's owl-like existence draws Alan away from his routine world.

A large part of the film's appeal comes from Dr. Johnson's own troubles, at home and at the dental office. Trivial in comparison with what Charlie is going through, Alan is nonetheless heading towards his own sea of unhappiness, albeit in slow motion. He will also experience changes through his renewed relationship with Charlie, and the film is about two men at individual inflection points helping each other, one more knowingly than the other.

Reign Over Me is enriched by provocative secondary characters orbiting Alan's world. Binder surrounds Alan with three women each capable of swinging his pendulum for better or for worse. Donna may be a predator, a victim or an inspiration; Dr. Oakhurst is either too young or perfectly positioned to help; and Janeane can drive Alan away from their nest or support his need for breathing room. Charlie meets and interacts with all three women, altering their role and dynamic relative to Alan.

Despite Sandler proving again that with the right material he can deliver as a convincing and serious actor, Reign Over Me stumbles and almost falls in its final act. Therapy sessions morph into an ill-conceived mini courtroom drama (with Donald Sutherland making a late appearance as the judge), and suddenly Charlie's poorly defined in-laws (Melinda Dillon and Robert Klein) become central to a story that is not their own. The limp finish is unfortunate, but Reign Over Me is an otherwise courageous scooter ride into men's mental grief territory.






All Ace Black Blog Movie Reviews are here.


Friday, 29 December 2017

Movie Review: Anger Management (2003)


A lukewarm comedy, Anger Management has half of a good idea and not enough creative talent to expand the concept into a film.

Emotionally scarred by the bullying he received as a child, Dave (Adam Sandler) is a meek man, taken advantage of by his boss and unwilling to display public affection towards his long-term girlfriend Linda (Marisa Tomei). Despite Dave's calm demeanour, an incident onboard a plane spirals out of control, Dave grabs a flight attendant by the arm and finds himself in court, sentenced to anger management classes.

His appointed therapist Dr. Buddy Rydell (Jack Nicholson), who happens to have been sitting next to Dave on that flight, has unconventional methods, and when Dave has another physical altercation with a blind man and a restaurant server resulting in a more severe sentence, Buddy takes full control of Dave's life. The therapist moves in with Dave and repeatedly pushes his buttons to try and snap him out of his docile passive-aggressive emotions.

Directed by Peter Segal, Anger Management is an attempted buddy comedy. That the career trajectories of Jack Nicholson and Adam Sandler would ever meet is astounding, but unfortunately the results veer much closer to Sandler's typical output: unrefined, silly, immature and underdeveloped.

Sandler himself is actually fine, playing a man keeping his emotions in check and too sequestered in his head for his own good. The problems with Anger Management reside in an exceptionally weak script by David S. Dorfman. The story never recovers from setting the therapist Rydell totally loose on Dave's life with ridiculously unprofessional conduct, including Rydell moving into Dave's apartment and straight into his bed. The narrative crosses the line from witty to lazy early and often, and never recovers.

Which is a pity, because the film does contain the germ of a decent comedy. In better hands and with intelligent development, the challenge of overcoming excessive passiveness to get on with life carries promise. Only flashes of what could have been interesting make it into Anger Management, mainly in scenes where Dave's emotional detachment land him in as much trouble as any actual release of anger.

But otherwise Sandler fans would be much the happier, particularly as Segal has no control over Nicholson. He surrenders to his worst tendencies of overacting and scenery chewing, effectively Nicholson playing Nicholson at the lowest common denominator. Tomei is wasted in a token role, and the rest of the cast includes John Turturro, January Jones and Krista Allen as Rydell's patients, and an uncredited Heather Graham in a single scene as Dave's seductive test.

Anger Management settles down expectantly on the therapist's couch, but receives incompetent treatment.






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Tuesday, 19 January 2016

Movie Review: 50 First Dates (2004)


A romantic comedy with a clumsy premise, 50 First Dates reunites Adam Sandler with Drew Barrymore, but is weighed down with thin material and too many juvenile elements.

In Hawaii, marine veterinarian Henry Roth (Sandler) is a renowned womanizer, carrying on quick affairs with ladies on vacation mode and dumping them with regularity. After a sailing mishap he washes up at a secluded beachfront diner and meets the attractive Lucy Whitmore (Barrymore). They chat and make a connection. Following up the next day, Henry is shocked that Lucy does not remember him. He learns that a year ago she was in a car accident, suffered a brain injury and is now unable to retain short-term memories. Every day for Lucy is a blissfully unaware clean-slate repeat of the day before her accident, orchestrated by her family and friends.

Henry meets Lucy's fisherman father Marlin (Blake Clark) and dimwit brother Doug (Sean Astin). They eventually start to trust Henry as someone who cares for Lucy, and he convinces them to try a new approach, allowing Lucy to watch a video every morning explaining her circumstance and then letting her live through a new but real present day. And every day Henry waits for Lucy to get over the shock and sadness and then proceeds to win her affection. But finding long-term happiness with someone who cannot build new memories will not be easy.

Sandler and Barrymore clicked in 1998's The Wedding Singer, and they do share a sweet chemistry and easy affinity. Her natural perkiness and his inexpressive confidence mix well at a comfortable rather than spark-inducing wattage, quite suitable for a romance that is more about building a relationship than the mindless pursuit of lust.

But unfortunately Sandler cannot help but populate too much of the film with low-brow humour to appeal to his core fan base. The numerous scenes with Rob Schneider as Henry's idiot friend, Sean Astin as Lucy's lisping and steroid-inhaling brother, and Lusia Strus as Henry's sexually ambiguous work colleague are as infantile as comedy gets, and appeal only to Sandler fans with a mental age of five and under. A large walrus and a small penguin also get plenty of screen time.

Although the best laugh does involve Barrymore, Schneider and a baseball bat, tellingly Barrymore barely appears in any of the scenes with the inelegant co-stars, as if Sandler was engineering two separate films at once, one full of shallow antics for the morons in the crowd, and another a romance for the couples. The many puerile moments both undermine the cuter romantic elements and reveal the shallowness of the available ideas. Stripped of the padding, 50 First Dates would barely find an hour's worth of material.

The parts of the film that do focus on the two central characters are merely adequate. Director Peter Segal nudges the back half of the story towards some modestly thoughtful scenes exploring how Lucy could be prodded to live in the present despite her condition. Barrymore is fine as the woman who has to re-learn about her life every morning, but Sandler brings little to the film apart from his stock lethargic persona. Neither character is provided with any sort of depth or backstory. Dan Aykroyd has a small role as Lucy's doctor, and Maya Rudolph appears in one scene.

50 First Dates holds some promise for a pleasant evening but turns out to be gawky, pimply and rather crude.






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Monday, 18 January 2016

Movie Review: Punch-Drunk Love (2002)


A romantic comedy drama, Punch-Drunk Love mixes issues of emotional depression with love, but is ultimately too quirky for its own good.

Barry Egan (Adam Sandler) is a businessman specializing in the distribution of novelty gadgets, and works out of a warehouse in Los Angeles. Barry is lonely, unmarried, and has seven sisters who mercilessly tease him. One strange morning he witnesses a bizarre car crash, picks up a harmonium mysteriously placed on the sidewalk near his work, and meets Lena Leonard (Emily Watson), who is dropping off her car for repairs. Barry also starts to buy a large amount of pudding in the hopes of collecting millions of frequent travel points through a special brand promotion.

Feeling really lonely one night, Barry calls a sex chat hot line and gives away all his personal and credit information before talking to a girl calling herself Georgia. Lena turns out to be a colleague of one of Barry's sisters, and she persists enough to start a relationship with him, and this eventually blossoms into a romance. Meanwhile Georgia tries to extort money out of Barry, and when he resists, her boss Dean Trumbell (Philip Seymour Hoffman), a cheap furniture salesman, unleashes goons to intimidate Barry into paying up. But empowered by his new found love for Lena, Barry discovers new inner strength to fight back.

After delivering the complex multi-story Magnolia at over 3 hours, Paul Thomas Anderson looked for a smaller, simpler project. Punch-Drunk Love was the outcome, and on this evidence, Anderson should stick to ambitious epics. While well produced, gorgeously photographed and containing some points of interest, Punch-Drunk Love is low key to the point of irrelevance, a story that carries its embrace of eccentricity to eye-rolling territory. The film is supposed to celebrate the rejuvenating and physical power of love, but generally just falls flat, with neither the comedy nor the romance elements ever finding a zone of comfort.

The harmonium sits on Barry's desk, a mountain of pudding is piled on the warehouse floor, where the workers seem to specialize in wrecking things. Barry wears the same blue suit for most of the scenes but cannot explain why, and explodes into uncontrollable rages that should make him extremely unattractive if not downright dangerous to someone like Lena. He makes up for his fits of anger by otherwise being laid back to the edge of abject lethargy.

Scenes are dragged out to exhaustion, the thin script (written by Anderson) struggling to meaningfully fill the 95 minutes of screen time. Despite the absence of material Adam Sandler does his best, and delivers an engaging and mostly reserved performance. Ironically, this is one of the few times that Sandler gets to work with a celebrated director, and he stumbles into a piece of abstraction. Punch-Drunk Love is a sparse effort trying to fill space with nothingness, and not unexpectedly drifts away into immateriality.






All Ace Black Blog Movie Reviews are here.


Saturday, 25 July 2015

Movie Review: Grown Ups (2010)


A low-brow comedy slapped together with nominal effort, Grown Ups is almost condescending in its minimalist attitude and lack of talent application.

A group of five snotty 12 year old friends overachieve and win a school basketball championship. Thirty years later, their beloved coach dies, and they gather for his funeral along with their wives and kids. Lenny (Adam Sandler) is now a successful talent agent and is married to uppity fashion designer Roxanne (Salma Hayek). Eric (Kevin James) has been less successful in his career and is married to Sally (Maria Bello), who is still breastfeeding their four-year-old son. Kurt (Chris Rock) is a stay-at-home-dad, married to the pregnant Deanne (Maya Rudolph) and having to tolerate her loudmouth mother (Ebony Jo-Ann).

The group is rounded out by Higgy (David Spade), who never settled down and is still chasing women, and Rob (Rob Schneider), who always had a thing for older women and is now married to the much older Gloria (Joyce Van Patten). After spreading the coach's ashes, the group settles down for a countryside weekend of fun and adventure, and they learn a few truths and air out some issues related to the past and their relationships.

Purportedly directed by Dennis Dugan and co-written by Sandler, Grown Ups is as vacuous as it sounds. The project smells of a group of comedians gathering for a week of fun, ad-libbing most of the dialogue, cracking a few jokes, and wrapping the whole thing in the flimsiest of premises to pretend that this is a film worth releasing. Somehow the movie reportedly cost $80 million, while what's on the screen resembles a glorified family vacation video. More remarkably, Grown Ups grossed $270 million, testament to the dumb power of the lowest common denominator.

There is undoubted talent involved, and there are some laughs to be had, all of the really silly variety. But the lame pranks outnumber the good moments by a good two to one margin, and all the scenes involving Rock, Spade and Schneider are more awkward than funny. Sandler and James do better, and they are halfway believable as fathers doing their best to deal with middle-age issues. Steve Buscemi shows up late as a member of the local dimwits who challenge Lenny and his friends to a rematch of that famous grade school basketball final.

The ladies have way too much talent to be involved in this project. Hayek, Bello and Rudolph hide their embarrassment, deliver their punchlines with no conviction, and scurry off to cash their cheques.

Despite offering some laughs, Grown Ups is nothing if not juvenile.






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Saturday, 18 October 2014

Movie Review: Men, Women, And Children (2014)


An episodic look at relationships and sexuality in the online age, Men, Women, And Children is a mildly interesting probe of modern family dysfunctionalities, but the film stumbles on unjustified pretensions.

The focus is on the loosely related lives of high school teenagers and their parents in a middle-class suburban Texas community. Helen (Rosemarie DeWitt) and Don (Adam Sandler) are parents who have worked their way into a stagnant marriage. Don harbours a healthy online porn habit and Helen is no longer attracted to her husband. Individually, they both use the Internet to spice up their sex lives with extramarital affairs. Meanwhile their 15 year old son Chris (Travis Tope) is so jaded by online porn that he can only be aroused by extreme fetishes. Chris' classmate Hannah (Olivia Crocicchia) is the high school's extroverted cheerleader and claims to be sexually experienced. Hannah has an online web site managed by her single-mom Joan (Judy Greer), featuring provocative modeling photos. Joan never made it in Hollywood, and is hoping to help her daughter into the career that she missed out on.

Patricia (Jennifer Garner) is obsessed with Internet safety for teenagers, and controls every online move made by her daughter Brandy (Kaitlyn Dever), who starts a tentative friendship with Tim (Ansel Elgort). Formerly the school's football star, Tim has quit the team and now immerses himself in online gaming as he drowns into a depression caused by his mother abandoning the family. Meanwhile Tim's dad Kent (Dean Norris) kindles a relationship with Joan. Allison (Elena Kampouris) is also a cheerleader, and friends with Hannah and Brandy, but she is suffering from anorexia, and turns to online support from fellow anorexics to ward off food temptations. Allison is looking for a her first sexual experience, and has a crush on an uncaring football player.

Men, Women, And Children is narrated by Emma Thompson, and frequently interrupted by pablum about the Voyager space probe hurtling through space and out of the solar system. Both the supercilious narration and the we-are-all-alone preachiness confirm the hubris hinted at in the film's title. Somehow director and co-writer Jason Reitman thought that he was making a deeply profound movie about humanity's destiny; rather, this is a modest film about a collection of people struggling with routine growing up and growing old issues in the Internet age. Men, Women And Children would have been better with more focus on characters and less galactic preachiness.

On the positive side, the stories are provocative, as intended, and fuelled by the online world's dramatic facilitation of access to explicit sexuality and seemingly anonymous interaction. Reitman is able to generate empathy for all the key characters. Refreshingly all the men, women and children are well-intentioned and doing the best with what they know. The teenagers are grappling with generational angst and awakening sexual desire in a world seemingly drenched by sex, the adults are groping through the fog of middle-age and the complexities of parenting, where the theoretical and the practical collide. And it's all happening aided and abetted by screens of all sizes, their glow the new essential backdrop for every important decision and communication.

Whether intentionally or through oversight, the film omits any families and characters who can be classified as normally happy. While unconflicted characters are admittedly less interesting, they would provide a useful reference point in a sea of turmoil. Brandy is the closest thing to a normal teen that the film offers, but even she has online secrets waiting to be revealed.

The performances err towards the entrenched side of adequate, with both Jennifer Garner and Judy Greer not helped by over-the-top parental characters that push the boundaries well past reasonable. Adam Sandler, Rosemarie DeWitt and young Kaitlyn Deaver emerge with the most credit.

Men, Women, And Children is close to being a worthwhile chronicle of digitally-driven familial dynamics. The film needed less pomposity and more tenderness to properly wriggle into the heart.






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Tuesday, 29 July 2014

Movie Review: Spanglish (2004)


A thoughtful exploration of parenting through the immigrant experience prism, Spanglish is a tender comedy brimming with a frothy human spirit.

The film is presented as an essay by Cristina Moreno, as she applies to enter Princeton University. Cristina names her mother Flor as her hero, and the film is a flashback recounting their story. In Mexico, Flor (Paz Vega) was abandoned as a young mother, and took it upon herself to cross illegally into the US with her daughter Cristina to seek a better future. After six years of confining herself to the Los Angeles Hispanic community, Flor still knows no English but strikes out into the world of the white people to try and make more money to better support Cristina (Shelbie Bruce), now almost a teenager. Flor finds employment as a housekeeper and nanny with the Clasky family.

Deborah Clasky (Téa Leoni) immediately takes a liking to Flor, despite having recently been laid off and still suffering through an emotional crisis. Her husband John (Adam Sandler) is a chef with a growing reputation. They have two children, Bernice (Sarah Steele) and George. Bernice is a bit pudgy, a condition that just adds to Deborah's stress levels and to the strain on John and Deborah's marriage. When the family moves into a beachfront home for the summer, they invite Flor and Cristina to stay with them. Deborah starts showering Cristina with affection, much to Flor's consternation, while John and Flor find plenty of emotions in common, despite the difficulty of communicating across a language barrier.

Written and directed by James L. Brooks with an eye to mixing societal commentary with romance and some humour, Spanglish succeeds in its delicate balancing act. The film unfolds with a gentle rhythm, the three main adult characters orbiting each other in search of emotional fulfilment, seeking happiness as parents and craving, in their own way, success for their children.

Flor, Deborah, and John are each facing major challenges, and they will complicate each other’s lives while simultaneously strengthening their dependencies. Deborah’s nervous breakdown reduces her ability to function as a wife and mother, as she is wrapped up in low self-esteem. She also latches on to Cristina as a more perfect surrogate daughter, seemingly smarter than Bernice and not suffering through the weight issues. Flor depends on Deborah for her livelihood, but quickly learns to resent the influence of her employer on Cristina.

Meanwhile, John is trying to survive his wife’s meltdown and the distraction of his growing professional reputation as a leading chef. The connection between Flor and John, both emotionally abandoned, is warm and genuine, and handled with an unusual sensitivity that allows the flame of love to flicker to life at its own magical pace.

The language barrier and the immigrant divide between Flor and the Claskys is used as a clever device for some pointed humour and social observations. Brooks finds a terrific peak in a scene where John and Flor argue while Cristina provides animated translation services. The degree of mutual dependency is emphasized by the need to tolerate the fragmented communication channels, while Flor’s willingness to learn a new language highlights the commitment of newcomers to their children’s success in the new world.

Adam Sandler plays John with a welcome laid back comfort, convincing as a man trying to keep his household together despite a disintegrating wife. Téa Leoni is all-in as Deborah, finding the fine line where stress and functionality rub against each other. Leoni plays Deborah as an often normal woman, but suffering from worrisome episodes of excessive and impulsive behaviour triggered by her emotionally fragile state.

Paz Vega steals the film as Flor, the heroine of the story and the central focus of Cristina's life. Vega learned her English along with her character on the set of the movie, and conjures up a performance of resolute courage. Cloris Leachman adds a dose of comic relief as Deborah’s mom and a former music pop star, abandoning her drinking when it’s time to become a parent again.

Warm and heartfelt, Spanglish is a treat in any language.






All Ace Black Blog Movie Reviews are here.


Saturday, 9 June 2012

Movie Review: The Wedding Singer (1998)


A romantic comedy that finds the often elusive magical balance between love and laughs, The Wedding Singer is a lot of fun. Adam Sandler has rarely been better, and Drew Barrymore consolidated her comeback and relaunched her career with the approachable girl-next-door persona.

It's 1985, and in a smallish New Jersey town Robbie Hart (Sandler) is the go-to wedding singer, invited with his band to perform cheesy favourites and keep the merriment on an even keel as the nuptial celebrations get going. While performing at a wedding, Robbie meets sweet waitress Julia Sullivan (Barrymore), and they become friends. Kind hearted and sensitive, Robbie is devastated when he is stood-up at his own wedding. His bride-to-be Linda (Angela Featherstone), a rock chick who never grew up, decides that he is too boring and leaves him standing at the altar.

Julia is engaged to be married to the very wealthy Glenn Gulia (Matthew Glave). As a broken-hearted Robbie helps her with the wedding preparations, he realizes that her future name of Julia Gulia is just one problem. Robbie uncovers Glenn as a first class egotistical sleazoid who does not hesitate to cheat on his fiancée, and with no plans to stop his womanizing after marriage. In the meantime Robbie and Julia and beginning to fall in love, which is further complicated by the sudden re-emergence of Linda looking to win Robbie's heart back.

Tim Herlihy's screenplay is razor sharp and witty. Full of references to the more cringe-worthy cultural artifacts of the 1980s, The Wedding Singer is a love letter to the decade of Culture Club, Madonna-inspired fashion, Van Halen in their prime, a snarling Billy Idol, and Kajagoogoo. The soundtrack is brimming with favourites from the era, a perfectly awkward backdrop to the sweetly irresistible corn of obvious romance. Frequent Sandler director Frank Coraci sets an uptempo pace and otherwise keeps a light touch at the controls, yielding to the inherent power of a budding romance between two appealing leads.

The Wedding Singer mercifully abandons Sandler's more juvenile and crude tendencies. Here he is relatively subdued, mostly calm and intelligently funny, a character that is actually likable as an adult. Barrymore is cute, perky and adorable almost to a fault, and the chemistry with Sandler is almost instantaneous. The secondary cast does lack some punch. The supporting characters include Julia's cousin and Madonna wannabe Holly (Christine Taylor), and Robbie's best friend and local limousine-driver-for-hire Sammy (Allen Covert). Jon Lovitz and Steve Buscemi make uncredited cameos, and both shine bright in very brief appearances.

In a genre with few surprises and predetermined endings, The Wedding Singer deserves a toast for getting everything else right.






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