Adam Sandler Is A Genius, IMHO


Bear in mind I loved Sofia Coppola in The Godfather III and enjoyed Pierce Brosnan‘s singing in Mamma Mia!

But still, hear me out.

Adam Sandler is roundly derided for putting out crappy, unfunny comedies which get scathing reviews and tons of awards–Razzies, that is.

But I just saw Just Go With It, and though it’s a credibility-stretching comedy of errors (loosely based on Cactus Flower), the bits about plastic surgery were a riot and it was in no way deserving of the Worst Actor and Worst Director Razzies it got–especially since Abduction came out the same year.

Then I caught up with Jack and Jill, which actually shared those Razzies with Just Go With It and won a whole lot more on its own.

The film is considered the low watermark not just of Sandler’s career, but of civilization. It’s the one where he’s visited by his annoying sister Jill (played by himself in drag) and she just stays and stays and irritates and irritates. Jill’s only worth is that Sandler–playing an ad exec–is trying to lure Al Pacino for a doughnut commercial, and Pacino (playing himself) somehow finds Jill wildly sexy, but even then, she won’t comply with the plan.

The whole thing was ludicrous, but I found Sandler hilarious in a Jerry Lewis-y way, especially when interacting with his crass yet somehow endearing sibling. The dinner scene, with the Indian kid strapping the giant salt shaker to his head, was a hoot, and there were plenty more laughs–this is hardly the sensibility-destroying debacle everyone said it was. The movie drags on and becomes a mess, but along the way, there were goofy guffaws to be had, and like Lewis, Sandler’s unafraid to make a fool of himself to create a comic situation.

The only really offensive thing to me–aside from the ethnic stereotypes—is that when Jill and a Mexican guy fall in love, they quite calculatedly only kiss on the cheek. Why? I guess because Sandler’s audience might be grossed out by two guys kissing on the mouth. Fuck them!

Anyway, Sandler has dared to show up his critics and try dramatic roles–starting with 2002’s Punch-Drunk Love, in which he was absolutely brilliant–but the public didn’t bite, so he’s been pretty much forced back into juvenile comedies.

But even those aren’t that bad, as I’m sure the critical establishment will someday recognize–and I bet they already realize it in France!