“Becky,” a new thriller featuring former sitcom star Kevin James as the King of Criminals, and now on VOD, is a mix of home invasion movies like “The Strangers” and plucky-kid-fights-back flicks like “Home Alone.”
Lulu Wilson is the title character, a fourteen-year-old who never got over the death of her mother. When her father Jeff (Joel McHale) announces his engagement to girlfriend Kayla (Amanda Brugel), Becky goes ballistic and takes off into the woods behind their weekend cottage, hiding out in a treehouse fort. She narrowly misses the arrival of Dominick (James), a neo-Nazi with a swastika tattooed on the back of his bald head, and his goons. They’re there looking for a key that was supposed to be in a container in the basement.
Trouble is, it isn’t there.
Thinking Jeff knows where it is Dominick resorts to the usual home invasion techniques of information gathering—intimidation, snarly rhetoric and when all else fails, torture—not realizing that Becky is lurking in the woods. When he discovers where she is, and that she has the key, he sends the goons to get her. What he doesn’t realize is that the tween is, “as strong willed and vindictive as they come.”
Cue the homemade deathtraps and bloodshed. “There once was a little girl who had a little curl in the middle of her forehead,” she taunts Dom. “When she was good she was very, very good but when she was bad she was horrid.”
“Becky,” I suppose, was to be to Kevin James what “Foxcatcher” was to Steve Carell, or Mo’Nique in “Precious,” a way to break out of comedy and into drama. While it is shocking to see the “King of Queens” without a quip on his lips or Adam Sandler at his side, that’s the only shocking part of this performance. Perhaps it’s his hilariously stilted dialogue or maybe it’s just hard to take a guy who made a career playing a heroic mall cop seriously.
Either way, he’s supposed to be a bad, bad man but compared to Becky he’s a peacenik. Set loose in the woods, the teenager calls on every ounce of her bottled-up rage to unleash holy, bloody hell on the men who did her family wrong. She lets her freak flag fly in ways that would make Anton Chigurh look positively tame by comparison.
“Becky” doesn’t have a whole lot of surprises. Instead it relies on bloody situations to drive the horror of its message home.
The Invisible Man, Frankenstein, the Mummy and let’s not forget Dracula all make appearances in “Hotel Transylvania 3: Summer Vacation” but the new, animated Adam Sandler movie isn’t about the monsters, it’s about the importance of kindness and family.
At the beginning of the film Dracula (voice of Sandler) is feeling down, stressed out from the pressure of running his luxury hotel. On top of that, seems even the Prince of Darkness has trouble meeting women. He’s forlorn, hasn’t had a date in 100 years and his voice-activated dating app is no help. “I’m lonely,” he says. “You want bologna?” it replies.
Noticing her dad is depressed daughter Mavis (Selena Gomez) arranges for a special treat; some time away with family and friends. “I figured you need a vacation from running everyone else’s vacations,” she says. She books passage on the monster cruise of a lifetime, a journey into the heart of the Bermuda Triangle.
Once onboard Drac immediately falls for Captain Ericka (Kathryn Hahn). The heart knows what it wants, even if it is a cold, un-beating heart. They hit it off, but it turns out Ericka might have an ulterior motive for returning Drac’s advances.
“Hotel Transylvania 3: Summer Vacation” is filled with the easy sentimentality that mars Sandler’s live action films. Good messages about acceptance—“We’re here, we’re hairy and it’s our right to be scary!”—tradition and finding your own way in the world—“ You have to honour the past but we have to make our own future,” says Drac.—are hammered home like a stake through the heart.
Surrounding the family friendly clichés are an untraditional cast of cute monsters and that’s the movie’s strength. The fun of “Hotel Transylvania 3” is in the details not the story. The kid friendly creepy crawlies, deadpan fish cruise ship staff, Grandpa Dracula’s (Mel Brooks) skimpy withered green body and Captain Ericka’s underwater craft that looks like it just floated in from “Yellow Submarine” are all a hoot. Come for the creatures, stay for the silly fun.
“Hotel Transylvania 3: Summer Vacation” doesn’t add up to much story-wise—music and dance numbers, though inventively staged, pad out the running time to feature length—but the messages of tolerance and kindness are important themes in today’s increasingly serious world. “Gotta be great-a than the hatas,” says one monster. That’s advice you can take to the (blood) bank.
“We don’t have time for zingers!” says Count Dracula (Adam Sandler) midway through “Hotel Transylvania 2.” No time for zingers, indeed. The sequel to the 2012 kid friendly animated horror comedy is short on laughs but long on sentiment.
Like all of Sandler’s movies—no matter how outrageous the characters—the new one is all about family. It picks up after Drac’s daughter, vampiress Mavis (voice of Selena Gomez) married human Jonathan (Andy Samberg). In a twist on “Twilight,” the vampire mother and human father soon have a child, Dennis (Asher Blinkoff). The question is, which side of the family will it take after, the monster or human?
“Human. Monster. Unicorn. As long as you’re happy,” Drac says to his daughter, while secretly hoping the child will inherit the vampire genes. On the eve of the child’s fifth birthday the boy still hasn’t shoed any signs of vampiric behaviour—“He’s not human,” says the Prince of Darkness, “he’s just a late fanger!”—so Drac and friends—Frankenstein (Kevin James), Wayne the Werewolf (Steve Buscemi), the Invisible Man (David Spade) and Murray the Mummy (Keegan-Michael Key)—take Dennis to their old haunts to teach him their scary skills.
“Hotel Transylvania 2” features great kid friendly monsters designs (that will make equally cool toys) like zombie bellhops and Blobby, a gelatine creature that looks like Grandma’s Gazpacho Aspic come to life but the creativity that went into the creatures didn’t extend to the script.
It’s a sweet enough, amiable story about acceptance and family, but the jokes barely rise to the level of the “101 Halloween Jokes for Kids” book I had when I was ten-years-old. If calling Murray the Mummy “talking toilet paper” makes you giggle, then perhaps this is for you, but by the time they have explained why Drac is called “Vampa” for the second time, you get the idea that Sandler and co-writer Robert Smigel know they should have driven a stake through the heart of this script.
The appearance of Mel Brooks as Great Vampa Vlad simply brings to mind “Young Frankenstein,” one of the funniest horror comedies of all time.
The biggest laughs come from the background, the sight gags that keep things visually frenetic in the first hour.
“Hotel Transylvania 2’s” family friendly scares won’t give kids any nightmares, but it won’t make them laugh either.
From a career point of view, Pixels may be the most important movie of Adam Sandler’s career. The big-budget action comedy sees the comedian help save the world from aliens who attack using classic video arcade games like PAC-MAN, Donkey Kong and Centipede as models for their assaults.
In real life, it’s not Donkey Kong Sandler needs to battle, but audience apathy. A string of box office flops, controversies and terrible reviews — critic Liam Maguren was so horrified by Sandler’s 2011 “comedy” Jack and Jill he wrote, “Burn this. This cannot be seen. By anyone” — have threatened to torpedo his career.
Even his own studio seemed to have turned against him. In last year’s Sony email hack, one employee complained, “we continue to be saddled with the mundane, formulaic Adam Sandler films.”
Movies like Billy Madison, Happy Gilmour and Big Daddy were hits that established his persona as the angry but sweet everyman, a misfit character he trotted out for two decades. Occasionally he’d get serious in pictures like Punch-Drunk Love or Reign Over Me and soak up some good reviews, but by and large, the Sandleronian oeuvre has been ripe with anger management issues and jokes of … how to put this delicately: a gastrointestinal nature.
Not highbrow, but that’s OK — not everything has to be Noel Coward — as long as audiences care.
But at some point, it seemed they stopped caring.
Perhaps it was the inconsistent nature of his movies. Just when you think he’s turned a corner with the excellent Reign Over Me into interesting adult roles he slaps you in the face with the zero-star rated follow-up I Now Pronounce You Chuck and Larry.
Or maybe it’s quality control issues. Last year Kevin Nealon told me about being offered a role in the Sandler-produced Grandma’s Boy.
“It was so lowball and crass,” said Nealon. “I thought it might be a little embarrassing to be in that one. So I told Sandler I’d probably pass on it and he called me and said, ‘I really hope you do this because if you don’t do it and it’s a big hit I’ll feel bad, but if you do it and it’s not a big hit, no one is going to see it anyway.’”
That attitude may be realistic but it doesn’t exactly speak to high standards. More than that, however, is the static nature of Sandler’s comedy. His everyman character hasn’t changed much throughout the years. Usually these days he lives in nicer houses or has more money but it’s the same old shtick.
The old saying, “He got bigger, but didn’t grow up,” perfectly applies to Sandler.
He may have matured (chronologically at least) but the urination gags and rageaholic jokes that characterize his comedy haven’t.
We don’t need to feel sorry for Adam Sandler. He has movies in the pipeline and a new deal with Netflix, but Pixels is still an important moment for him. Rolling Stone called his last film, The Cobbler, “beyond awful and beyond repair,” and it went on to become his biggest flop to date.
If Pixels is a hit, and it may be, the trailer generated 34.3 million views worldwide in its first 24 hours online, he will be redeemed — at least until his next movie’s new round of toilet humour and cleavage shots.
Imagine Donkey Kong meets “War of the Worlds” and you’ll get the idea behind the new Adam Sandler comedy. Question is, Will it be the end of the world or the end of Sandler’s career?
The “Billy Madison” star plays Sam, a Nerd Brigade television installer who, as a teen was part of a gang of video game obsessed kids, Will (Kevin James), Ludlow (Josh Gad). While Sam’s dreams of becoming an international gaming star were crushed when he lost the 1982 worldwide arcade game championships to Eddie “The Fire Blaster” Plant (Peter Dinklage), his best friend Will went on to become the President of the United States. “I’m just a loser who’s good at old videogames,” he says.
Now it looks like all those hours spent saving the world from Galaga and Centipede may finally have some real life application. An alien race has misinterpreted old arcade video game signals for a declaration of war from earth. In retaliation they have created an army of invaders based on1980s style characters like PAC-MAN, Donkey Kong and, of course, Space Invaders. Sam’s plans for world domination in his “sport” may have been pushed aside, but when he gets a call from the President, he and his friends use their skills to save the world from the pixelated predators.
There might be some 1980s “Pac Man Fever” nostalgia for those who came of age during the Reagan years but as good-natured as the movie is, there’s not much here to recommend it as a comedy. There are Donkey Kong games with more laughs than “Pixels.” Sandler’s man-child with a heart of gold character is now as creaky as an arcade game joystick after a Battlezone binge.
There is an interesting story in how pop culture can have a massive impact on people’s lives, but the movie is content to stick to the Sandler template, using the inventive premise as a frame for another of the comedian’s tired romantic hook-ups. Predictable and not nearly heart warming enough to make you care about the characters, “Pixels” feels lazy, as though it was too much work to make the video game warrior aspect anything more than a sentimental gimmick. It’s Game Over for “Pixels.”
Years from now when people look up the meaning of the word “unnecessary” in the dictionary the definition will be the synopsis of “Paul Blart: Mall Cop 2.”
In the original 2009 movie Blart (Kevin James) was living the life of a security guard—excuse me, Security Officer—at New Jersey’s West Orange Pavilion Mall after failing the physical portion of his State Trooper’s exam. He was a lovesick loser, unlucky at love and life.
Things have changed a bit since then. He’s still working security, but is flying high off his last major caper, single-handedly taking on a group of thugs who took over the mall and held his lady love hostage on Black Friday, the busiest shopping day of the year.
In the new film he’s in Las Vegas attending the Security Officer’s Convention. Tagging along is daughter (Raini Rodriguez) a teen working up the courage to spill the news that she’s leaving home for university in Los Angeles. On what should be one of the greatest nights of his life—delivering the keynote speech at the convention—duty calls when a disgruntled high roller (Neal McDonough), who lost a bundle on his last visit to the casino, kidnaps Blart’s daughter and attempts to recoup his money by stealing priceless art from the Wynn Hotel.
You have to wonder why Kevin James waited six years to make a Paul Blart sequel. After seeing number two I’m tempted to think it was to give people enough time to forget how brutally unfunny the first movie was. You have to hand it to him, however. With “Paul Blart: Mall Cop 2” he’s managed to top the first movie, making a comedy even more relentlessly unfunny than the first one.
There are, to be generous, about three laughs in “Paul Blart: Mall Cop 2,” all of which can be viewed in the trailer. The other 89 minutes are filler. The audience I saw it with seemed to be laughing out of pity rather than because anything in the movie is actually amusing.
The old saying, “They got bigger, but they didn’t grow up,” perfectly applies to this new Sandler and Company movie. It’s ninety minutes of middle-aged men, urination gags (too many to count) and cleavage shots. So while the actors may have matured (chronologically at least) the jokes haven’t.
Question is, Is it funny?
I didn’t really think so, although I have to say Shaquille O’Neal’s big-guy-Andre-the-Giant schick made me laugh.
“Grown Ups 2” picks up where the last movie left off. Lenny (Adam Sandler in his first ever sequel) has relocated his wife (Salma Hayek) and kids back to his hometown to be closer to friends and family. It’s the last day of school, and as the kids are packing up their books, their fathers (Kevin James, Chris Rock and David Spade) grapple with growing up, growing old and a gang of frat boys (lead by “Twilight’s” Taylor Lautner) who think the four old friends are WAY over the hill.
The movie comes equipped with an all-star comedy cast. In addition to the above-the-title actors there’s cameos by everyone from Colin Quinn, Tim Meadows, Georgia Engel and Steve Buscemi to name a few. In fact there may be more recognizable faces here than true laughs.
That’s not to say there are no laughs at all. James’ deadpan dumb kid who can’t add or spell is a funny running gag, Hayek does a pretty good Sofía Vergara imitation and O’Neal’s oversized antics are fun but for a movie about growing up it is all so juvenile. I didn’t expect a searing meditation on aging but I did think they might touch on the fact that they were growing old with more smarts than lines like, “I used to buy ten cases of beer for my parties, now I get ten cases of juice boxes.”
There’s nothing wrong with a good silly movie and “Grown Ups 2” had the chance to be just that, but I just wish it was silly AND about something other than a moose urinating on Sandler’s unsuspecting family, and by extension, the audience.
The once edgy comics of “Saturday Night Live” have gotten older and a little rounder in the middle but judging by their work in the ironically named “Grown Ups” they haven’t actually grown up.
Adam Sandler, Chris Rock, David Spade, Kevin James and Rob Schneider star in this celebration of arrested adolescence as five friend s reunited at the funeral of the beloved high school basketball coach. All married, except for the childlike Spade, they are at different stages of their lives. Schneider is a new age guru with a much older wife, Rock is a henpecked house husband, Sandler the hottest agent in Hollywood, with the hot wife (Salma Hayek) and James is the fat guy who falls down a lot. Like, a lot a lot. To spread their coach’s ashes they head to a cottage by a lake to spend the weekend, reconnect and endlessly trade good natured jibes. Over the course of the Fourth of July weekend their spoiled kids learn to live without cell phones, the boys play a dangerous game with a bow and arrow and ogle Schneider’s babelicious daughters.
“Grown Ups” isn’t quite rude enough for the Apatow crowd, but yet, not quite family friendly enough for grandma and the kids. For every outrageous joke about breast milk there’s a faux emotive or cutesy kid moment. The one liners come fast and furious—these guys only seem to be able to communicate by busting one another’s chops—but for the first hour there is precious little in the way of real jokes. It’s titter worthy rather than laugh out loud funny.
The guys have good chemistry, which they should, having spent years doing live television together, but it looks like the kind of movie that might have been more fun to make than to watch. These are (mostly) likeable actors but they’re not doing their most likeable work here. Sandler, for instance ruins a funny moment when his daughter says, “I want to get chocolate wasted!” with a snorting reaction that steps on the joke.
In the second hour Sandler is in heart warming mode but even this comes off as false. He spends the whole movie shrugging off his “Mr. Hollywood” nickname, but then in the climax—and I’ll be careful not to give anything away here—acts like a rich city slicker doing the local yokels a favor.
Luckily Sandler regular Steve Buscemi and the mangling of the name of a Canadian city provide some silly laughs.
“Grown Ups” is lowbrow with warm and fuzzy aspirations but misses the mark.
