Breathe…breathe it in. It might be the best Sandler ever gets.
In my review of The Ridiculous 6, the first of four films Sandler has to complete with Netflix, I questioned Sandler’s relevance. It’s been a while since the Brooklyn boy delivered comedy gold. 2011’s Just Go With It was fun, but exclude that and you have to go to 2006’s Click before you find the talent that Sandler used to deliver like alcohol at a frat party. I went so far as to say there’s only so much nonsense I’m going to put up with before I stop watching, as I’m sure some Sandler loyalists already have.
The Do-Over has lit the embers in me again, my fire for Sandler. It’s solidified my status as a Sandler loyalist for life.
Funny thing is, The Do-Over isn’t good. It’s still plagued by Sandler’s familiar missteps: catering to the drunk college crowd, being unnecessarily sexual and parading childish jokes that have frankly gotten so redundant I can probably write them verbatim for Sandler’s next voyage.
And yet a part of me likes this film. Some scenes accomplish nothing and should have been cut, but there are other sections that I can’t help but smile because it reminds me of why I used to love Sandler. The running gags that don’t quit and yet still stick, the trinkets of dialogue that have enough shine on them that I can’t help but grin. I remember how rambunctious all his films used to be. They were ebullient.
What Sandler used to do was remind people of what it was like to be a kid again. He allowed us to reminisce. Sandler doesn’t do that anymore, not until The Do-Over. I haven’t laughed at a new Sandler film for five years. I can safely laugh now.
It makes me glad to know the well hasn’t dried up just yet but also leaves me a little distraught because it confirms that Sandler will never return to what he was. He’ll never produce the material that glistened off the page again. I’ll never shed tears or utter silent laughs from gasping for air. I don’t think I’ll ever fully see the old Sandler again. Potential will continuously be squandered and promise skipped over in favor of potty jokes or poorly timed one-liners. This film confirms to me that the Sandler we knew and love isn’t coming back.
I take solace knowing he’s still around and that I can wring out a couple droplets of joy from his films. The luxury I used to enjoy is aplenty no longer but still exists if I’m willing to stick around. For those few drops, I’ll stay.
Here, Sandler conquers another genre that he hasn’t managed to get his hands on in all these years: action comedy. You would think with his expertise he would have done one of these but I’ve looked through his filmography and can’t find any. While the western intrusion of The Ridiculous 6 was unwelcome and essentially void of just about everything, the action comedy feels better suited to Sandler’s talents. Where dead air, buzzards and vultures were circling the script of The Ridiculous 6, The Do-Over is a story we’ve all seen before: an underappreciated guy who’s taken advantage of meets an old friend/stranger who causes him to reach an epiphany: life doesn’t have to be like this. I can stand up for myself. I don’t have to put up with this crap. I can start over. Sound familiar?
It’s not an atypical plot. I can think of two films off the top of my head that meet this criteria. Films with cookie cutter storyboards rely on the singularity of their specific adaptation and the connectivity of their characters. The Do-Over struggles with both these options. A plot that takes a few too many u-turns in its attempt to separate itself and characters that can’t breach the field of originality, The Do-Over doesn’t carry well nor does it ask us anything aside from, “Are you really living?” not that Sandler’s films have ever been known for strong motifs. No, Sandler’s new trick is randomness. How much random, unconnected material can we smash together to create some laughs? I imagine Sandler in a brainstorming session crashing handfuls of Play-Doh together, desperate to make something out of nothing.
Sandler takes the sidecar to make room for David Spade as our bumbling, socially awkward and purposeless shut-in. Spade as well as Sandler aren’t personalities so much as they are themselves. Actors are supposed to pretend to be other people. Instead, our characters seem keen on acting like Spade and Sandler.
Remove the same childish joke plugs that Sandler must have written in his contracts these days, however, and you find some natural sunlight peeking through the cracks of monotony. In what is by far the best scene in the film, a fight scene is laid over top of Madonna’s “Crazy For You”, a combination so unusual and yet so fitting that I found it impossible not to enjoy. I’ve watched this scene at least five times now. It’s too funny, too stereotypical Sandler not to smirk.
Once again, if you’re new to my blog, I’ve always ranked movies on a scale of 0-100 (I don’t know why, I just always have). Here’s the grading scale.
80-89 It was a pretty good movie and definitely one worth seeing, but it doesn’t quite scratch my top ten percentile. (Olympus Has Fallen, The Cable Guy, The Cabin in the Woods, Tears of the Sun, Edge of Tomorrow)
60-69 It’s got plenty wrong with it but I still got enjoyment out of this one. (The Crow, Hardcore Henry, Batman v Superman: Dawn of Justice, Pride and Prejudice and Zombies, The Hunger Games: Mockingjay Part 2)
50-59 This movie isn’t intolerable but it’s not blowing my mind either. I’m trying really hard to get some sort of enjoyment out of this. (X-Men: Apocalypse, D-Tox/Eye See You, Constantine, Race, Everest)
40-49 This movie is just mediocre. It’s not doing anything other than the bare minimal, so morbidly boring that sometimes I’m actually angry I watched this. (Batman & Robin, Bloodsport, War, The Ridiculous 6, The Lost Boys)
30-39 Definitely worse than mediocre, the 30′s ironically define the 1930′s, full of depression, lack of accomplishments, poverty and just so dumb. (The Crow: City of Angels, Centurion, Planet of the Apes, Stonados, Redemption)
0-19 Watching this movie resulted in one or more of the following: seizure, loss of brain cells, falling asleep/unconsciousness, feel you wasted your time/day, accomplished nothing for you, left the movie knowing less about it then you did going into it, constantly asking yourself why you came to see this movie, or near-death experience. In short, staring at a wall was just as entertaining as watching this movie. This movie deserved a sticker or a label that said, “WARNING: EXTREME AMOUNT OF SUCKAGE.” (The Coed and the Zombie Stoner, The Forbidden Dimensions, Cyborg, Outcast, Sabotage)
My score for The Do-Over: 51.
The Do-Over‘s score reflects its too often plodding pacing, lack of production from its characters and loosely controlled plot but I also can’t go without saying there is some material that’s worth looking at even though you have to wade through the polluted run time to find the cream of the crop.