Movie Reviews

So, does anyone out there realize how full of schlock Adam Sandler’s movies are?  It seems obvious to me that the scripts about learning a “valuable life lesson” that take the writing ability of a freshman in High School just recycle the same boring themes, but The Longest Yard grossed $158 million.  I guess either I’m to critical on the guy or America has a rather large idiot count.

Click
1 Star

It’s been nearly 13 months since the innovatively not innovative Adam Sandler graced us with his presence on the big-screen, which is obviously far too long.  On average of once a year, Sandler pops out another flick guaranteed to gross north of $100 million to the delight of middle schoolers and the spite of people who know what quality cinema is.  Sandler continues the tradition with Click, a rehash of It’s a Wonderful Life, with more fart and dog-humping jokes to satisfy Sandler’s fan-base.

Sandler plays Michael, a guy who’s working a mile a minute without taking a time-out to spend with his pint-sized kids or his wife (Kate Beckinsale).  I’d go ahead and describe him to you some more, but you’ve already seen the father figure torn between working and spending time with his family a few dozen times too many in other movies as it is.

Michael’s on the verge of a breakdown until he wanders into Christopher Walken, in the back of a Bed Bath & Beyond in the hunt for a universal remote.  Walken, who I’m starting to believe doesn’t act anymore as much as just memorize lines and recite them through his bouncy dialect, gives him a remote that brings more to the coffee table than Michael bargained for, though – the remote somehow controls life outside of the tube.  That’s right, now Sandler can pause, mute or skip all of those crappy movies he puts out.

At first it’s wonderful, even though Michael decides not to take advantage of avoiding the aforementioned feature.  Instead, he uses the remote to fast-forward through important matters such as arguing with his wife and working – anything important he just skips.  You’d think that by now, Sandler would have figured out not to take the easy way out from all of his dull comedies that teach the longer road is more worthwhile; but the guy just seems unable to learn.

And so, to further the plot, the remote begins to automatically fast-forward through all of Michael’s life.  It becomes rather convenient for teaching life lessons, but overall it’s a pretty damn stupid contingency.

One catch of the film is that as Michael’s remote fast-forwards, we’re taken to that mysterious far-off place called the future, specifically the 2020s.  With this comes all sort of wacky hairdos, bright colors and walls that work as TVs.  If the script weren’t so dully put together, the film’s failure would have been promised with this idea of the years to come you might see at Tomorrowland in DisneyWorld a few decades ago.

The film’s one area of success is the casting of Henry Winkler.  Maybe it’s just this writer’s fond memories of seeing the veteran actor on Happy Days and Arrested Development, but the guy is heartbreaking as the father that Michael forgets.  It manages to give the film – dare I use such a cheesy word – heart?

Sandler has talent.  He lets himself out of his cage a couple of coveted times in the movie to make us laugh, and he proved in Punch-Drunk Love that he can act too.  But the guy just doesn’t care enough to push himself, Click is just another Sandler flick shoved into cinemas to make a fortune and then be forgotten.

This comedy about parents trying to out-do each other, young boys becoming men, and fathers and sons is okay.  Not groundbreaking or a laugh riot but there’s something to be said for nice (if predictable) family films such as this.  While not as good as it could be and really constrains a comedic actor like Jeremy Piven in a straight-man role, it does come off as much more charming than it should and is worth a look for families looking for films to see together.

Keeping Up with the Steins
3 Stars

A rather small niche film such as Keeping Up with the Steins can easily get lost especially in the shuffle of big summer Hollywood popcorn flicks.  There are some fine performances that makes a nice additional option for families looking to spend some time together at the movie theater.  Not great and not bad, it’s just really okay; not the best recommendation I’ll grant you but there are many less entertaining ways to spend an hour and a half (after all, X3 is still showing).

The Fiedler famly is about to celebrate a milestone as young Benjamin Fiedler (Daryl Sabara) will celebrate his Bar Mitzvah.  It should be a time of great pride and joy, but this is a comedy so things naturally go wrong. 

It all starts out with the Titanic themed Bar Mitzvah of Benjy’s friend Zachary Stein (Carter Jenkins).  Benjy’s dad Adam (Jeremy Piven) once worked for, and is now in competition with, Zach’s dad Arnie (Larry Miller) and is determined to throw a bigger party than his rival.

Benjamin himself is going through crises of his own and to get his parents off his case he invites his long lost grandfather Irwin (Gary Marshall) to the party knowing it will drive his father crazy.  And when Irwin and his new girlfriend Sacred Feather (Daryl Hannah) arrive things get interesting.

The star of the film is Sabara and he does a fine job as the young kid who is still unsure if he’s ready or even wants to become a man.  Over the course of the film with the help of his grandfather and rabbi (Richard Benjamin) Benjy matures and begins to grow up.  Although the story is a Jewish one it’s done in a way to appeal to coming of age stories of any religious background.  It’s the story of fathers and sons and how those relationships change over time as you get older.

There are fine performances from Jami Gertz as Benjy’s mother and Doris Roberts as he grandmother.  And a funny, if somewhat unnecessary role, for Cheryl Hines as the event planner rounding out the cast, and of course Miller is great playing his standard putz role.  It’s Piven who comes off a little too constrained by the script and only can tap into his manic zaniness to provide too few moments of crazed comedy for fans of his other work.

It’s not a must see film by any means, nor will you be missing much by passing.  It’s a small niche film for mostly older women of the Jewish persuasion but one that I think many different American families can enjoy.  The PG-13 rating is due to some minor drug references and comedic nudity of Gary Marshall that is rather harsh as this is a feel good comedy with strong family themes that probably should have been given a PG.

The film is directed by Scott Marshall – son of Gary and nephew of Penny Marshall which obviously got the film more money and attention than a small project like this would normally earn.  Not a must-see but you could find far worse things in your cineplex, and for an entertaining if foregettable film it’s a nice hour and a half that most will enjoy.