Latest Reviews

Entries in just go with it (2)

Thursday
May222014

Blended

It’s easy to understand if some cinemagoers have given up on Adam Sandler. Despite some solid performances in movies like “Reign Over Me” and “Punch-Drunk Love” and a few (arguably) funny early films, he has, at this point, fallen off the wagon. With a five film run (excluding animated voice work) of “Grown Ups,” “Just Go With It,” “Jack and Jill,” “That’s My Boy” and “Grown Ups 2,” only “Just Go With It” managed to be even remotely watchable, while “Grown Ups 2” can easily be labeled with no hyperbole as one of the absolute worst comedies ever made. However, it doesn’t appear he’s totally lost, as evidenced by his latest, “Blended.” While a positive reception to it could very well be due to the disastrously low expectations Sandler has set for his movies over the last few years, there’s a certain warmth to it that makes it more than the sum of its parts.

In his third outing with Drew Barrymore, Sandler plays Jim, a manager at a local Dick’s Sporting Goods store who has a terrible first date with Lauren, played by Barrymore. Neither are interested in the other, so they part ways expecting to never see each other again. However, a chance circumstance lands them both at an African resort where they are booked to participate in a number of couples events. Along with them are Lauren’s two boys, one a reckless danger to himself and the other just discovering his sexuality, and Jim’s three girls, the oldest of which is developing a crush for the first time, terrifying Jim. However, their attraction grows while on the vacation and they each develop bonds with the other’s kids, which leads them somewhere unexpected.

“Blended” has a leg up when compared to Sandler’s recent filmography. Whereas films like “Grown Ups” and its sequel didn’t even bother with a story, this film’s ideas and themes center around its story. Sure, it’s predictable, but there’s heart to it and its family value themes come naturally rather than forced like in “Jack and Jill.” Similarly, the kids aren’t just throwaway figures like they have been in previous movies. They’re integral to the film’s meaning. Each of Jim’s children misses their mother, who died of cancer, and they each have their own ways of coping. The middle child, for instance, likes to pretend that her mom is still there, an invisible force that she speaks to and saves a spot at the dinner table for. Jim, who also misses their mother more than anything in the world, goes along with it, understanding the pain his daughter feels.

Both Jim and Lauren, the latter of whom is dealing with the resentment from her children for leaving their deadbeat father, have the best intentions and are trying to make the most out of a life that hasn’t quite gone as they planned. They’re both flawed, particularly Jim, who dresses his girls up in boyish clothes and styles their hair in the female equivalent of a bowl cut, but they’re doing their best, both clearly out of their comfort zones when they have to deal with issues that their spouses would have traditionally handled, like when Lauren finds a hidden centerfold under her son’s bed or when Jim’s oldest daughter hits that time of the month.

They say the quickest way to someone’s heart is through their kids, so it comes as no surprise that it’s they who end up sparking the attraction between Jim and Lauren while in Africa. Each help the other in various ways and as more layers of Jim and Lauren are revealed, their desire to spend more time with each other grows. These moments are genuine too. At first, some of the jabs they take at each other are a little mean spirited, but more often than not, they’re nothing more than playful pokes, the type of innocent jokes any loving couple shares with each other.

On top of all that, “Blended” is actually pretty funny, surprisingly so after Sandler’s last few abominations. Granted, likable characters make for a more pleasant and humorous experience, but some of the jokes are genuinely clever, like when it upends the post-makeover slow-mo entrance scene made popular by romantic comedies in the 80s and 90s with transitioning music based on the reactions of those looking on, including Jim’s horrified expression as he realizes his little girl will now be an object of desire for the boys around her. It even nails the awkwardness of first dates; those who have ever been on a bad one will get to see the old “planned emergency phone call” escape we’ve all wanted to try, but never had the guts to.

With all that said, “Blended” is still not a great movie. It has just as many jokes that land with a thud as it does that actually work and some late movie dramatics pile on the cheese, despite previous false set-ups that could have circumvented it. “Blended” stumbles a ton, that’s for sure, but when it’s at its best, it finds real meaning. It’s touching and doesn’t feel exhausting despite its nearly two hour runtime, which includes a recurring bit from Terry Crews where he shows up in the most random places to sing, a bit that should get old, but, oddly, never does. This is a major step up for Sandler after his previous debacles. Let’s hope he continues this upward swing and realizes his potential because I’m not sure I could suffer through a “Grown Ups 3.”

Blended receives 3.5/5

Friday
Feb112011

Just Go With It

I’ve come to terms with Hollywood having run out of ideas. With years of examples to back it up, it’s fairly easy to make the claim that the bigwigs at the major film studios have no idea what else to do. So, to compensate, they release remakes, not because they have a fresh idea on the story or think they can improve on the original, but because they know a movie with a recognizable name will sell tickets. While I’m not flat out opposed to remakes, I believe the classics should be left alone. If you’re going to remake a movie, make it one that had an interesting idea or a lot of potential, but failed to live up to it, a modern update that could indeed be better than the original. Cactus Flower, which is now being remade as Just Go With It, falls somewhere in the middle of “classic” and “worth an update.” It's a classic only in the sense that it’s old, not that it’s considered one of the best films of all time, but it’s still wonderful, full of heart and whimsy and multi-dimensional characters you can care about. This 2011 update doesn’t improve on it, but it differs enough to stand apart from it and, although it’s a wildly erratic film in terms of quality, it’s watchable.

The story follows Danny (Adam Sandler), a plastic surgeon who pretends to be married to pick up women. His manufactured sob stories about his neglectful “wife” tug at the heartstrings of the women who listen, which allows him to make his way into their beds. However, at a party one day, he meets Palmer (Brooklyn Decker), a stunning girl who instantly smites him, but when she stumbles onto his ring, she mistakes him as a married man. Instead of telling her the truth, he lies to her and creates a whirlwind of deceit. When he tells her he is divorcing his made up wife, Palmer insists on meeting her, so he coaxes his secretary, Katherine (Jennifer Aniston), into pretending to playing his soon-to-be ex. But when Palmer overhears Katherine talking to her kids on the phone, she assumes they are Danny’s as well, so the lie spreads further, which leads Danny to realize something about himself.

Some remakes can be directly compared to their originals, but in the case of Just Go With It and Cactus Flower, the two share only certain aspects. Aside from the initial concept, they each go down fairly separate paths. What they share in common is that the setup is caused by a bad decision, to not come clean to their girls. The differences from here on out are vast, but none more so than the much more excessive and less believable nature of Just Go With It. The situations and conflicts that arise in this movie are brought on by extreme and incredibly unlikely coincidences, like when Katherine runs into her nemesis, Devlin (Nicole Kidman), while in Hawaii pretending to be Danny’s wife, thus making the ruse trickier to pull off. Cactus Flower may not have been perfect, but when characters bumped into each other, it made sense. The rationale behind their actions was indicative of their personalities, so even as you imagined how differently you would have handled the situation, you understood why they acted as they did.

But to criticize the believability factor in a movie like this is frivolous. It’s a comedy, after all, and the real level of its quality is measured in how many laughs it produces, which is precisely what makes Just Go With It so difficult to discuss. It’s a movie I liked one minute and didn’t like the next. It was like my opinion was riding a Ferris wheel, ascending to the highest of peaks before descending to the lowest of lows. There are a surprising amount of laugh out loud moments (especially given the poor quality of other Happy Madison productions like Grown Ups and Paul Blart: Mall Cop), but it also gets into funks. Jokes are stretched too thin (the name “Devlin” as slang for going to the bathroom is referenced no less than seven times), mean spiritedness seeps through and slapstick humor pervades the movie.

When the film reaches its back half, it goes completely overboard with idiotic nonsense—what relevance performing the Heimlich Maneuver on a sheep has to the overall picture I haven’t the slightest clue—but the actors are game and I enjoyed the chemistry between all of the characters, including the two children, played by Bailee Madison and Griffin Gluck, who are both terrific and squeeze out some of the film’s biggest laughs. Sandler still works better as a dramatic actor (as seen in movies like Punch-Drunk Love and Reign Over Me) and struggles to hold himself together in the funnier moments, shedding conspicuous smiles when he should be straight faced, but there’s still charm to Just Go With It. It’s slight, but it’s there and you won’t blame yourself for having a look.

Just Go With It receives 2.5/5