Adam Sandler

Adam Sandler, Seth Rogen Star in Ambitious But Flawed ‘Funny People’

BrianTT — Fri, 31 Jul 2009 09:55:51 -0600

Rating: 3.0/5.0

CHICAGO – Judd Apatow’s “Funny People,” starring Adam Sandler, Seth Rogen, and Leslie Mann, is like watching a friend try out a new stand-up routine. As with a lot of attempts at trying something untested, it doesn’t quite work out, but you have to admire the effort, if not the execution.

The three films that Apatow has written and directed could be viewed as a natural trilogy about common chronological development through the life of a man. “The 40-Year-Old Virgin” is about sexuality, “Knocked Up” is about fatherhood, and “Funny People” is about mortality. If it sounds like deep material for what has been advertised as a raunchy comedy, it is, but that doesn’t mean it works.

(L to R) Ira (Seth Rogen) and George (Adam Sandler).
Photo credit: Tracy Bennett/Universal

“Funny People” is an undeniably ambitious piece of work about infidelity, regret, death, fame, friendship, and love, but it simply got away from one of the most talented comedy writer/directors of the last decade. The romantic end of “Virgin” and the lessons about responsibility in “Knocked Up” had an emotional resonance that’s missing from the over-long, often-rambling “Funny People,” a film with great parts that never quite develops into a cohesive sum.

Like a lot of successful comedians, George Simmons (Adam Sandler) is kind of an a-hole. Life has left him with no friends and less real love. The star of “Merman” and “My Best Friend is a Robot” learns at the beginning of the film that he’s dying. Looking at the face of death sends George back to his roots, bringing him back to the stand-up stage and regretting the one that got away, Laura (Leslie Mann).

After a disastrous on-stage performance one night, George takes a liking to the young man that follows him, Ira Wright (Seth Rogen). Ira has been working his way up the comedy ladder, keeping a day job behind a deli counter and sleeping on the futon of his friends (Jonah Hill, Jason Schwartzman). George hires Ira to write jokes for him and the two become odd friends with the younger comedian going with the dying one to everything from doctor’s appointments to corporate concerts with James Taylor.

There is a solid, entertaining movie about an awkward, overly nice young comedian working with an older, bitter one and learning lessons about the price of fame and the art of comedy. That movie is in “Funny People” but it has been cluttered by a too-long running time and enough themes for a season of television. Instead of sticking with his “A-story,” Apatow stretches his film to the breaking point with subplots about the conflict between friendship and career and a third act love quadrangle between George, Laura, and Laura’s husband (Eric Bana), with Ira stuck in the middle.

It’s all too much for one film and the script gets away from Apatow. By trying to tell so much story, he loses the emotional impact of what he should have focused on. It’s nice to see a film that avoids manipulative melodrama, but “Funny People” is surprisingly dead when it comes to honest emotion. There are scenes of crying characters that should at least pull at a heartstring, but they register shockingly flat.

Laura (Leslie Mann) flirts with George (Adam Sandler).
Photo credit: Tracy Bennett/Universal

Part of the reason for this is the mishandling of the dramatic material, but there are serious issues of chemistry and character that enhance the flaws. I never bought the undying love between Sandler & Mann, nor the relationship between Sandler & Rogen. There’s a dramatic urgency missing from the proceedings. You won’t care if George gets back together with Laura, if Ira finds success or fame, what happens with his friends, or even if George lives or dies. All of it takes place at arms-length, like you’re watching someone on stage, not relatable, three-dimensional characters.

Having said all of that, there are things to like about “Funny People,” even if most of it is on paper. I don’t want to suggest that Apatow isn’t talented enough to handle drama. He is. And we should encourage writer/directors to spread their wings outside of their traditional niche. If your friend’s new stand-up routine didn’t work, you’d still encourage him to try again.

I also vastly prefer this Sandler to the one that makes silly faces and stupid voices as Zohan, Nicky, The Waterboy, etc. He’s missing the dramatic edge of his work in “Punch-Drunk Love,” but there are hints of that actor in this performance, one that gets away from Adam because of the lack of definition in the screenplay but not due to any mistakes by the actor.

Rogen and Mann have excellent comic timing. Eric Bana nearly steals the film with a few scenes. Jason Schwartzman gives his funniest performance in a long time. And there are some very funny moments in “Funny People”. The humor works if the drama doesn’t.

Ultimately, Funny People is a film starring very talented people made by a very talented man. You can’t write it off entirely. Judd Apatow is at the top of his game and he could have played it safe and produced just another raunchy comedy. He didn’t do that. He got up on stage and tried a new routine. It may not have connected with the audience, but you have to admire the effort.

‘Funny People’ stars Adam Sandler, Seth Rogen, Leslie Mann, Jonah Hill, Jason Schwartzman, and Eric Bana. It was written and directed by Judd Apatow. It opens on July 31st, 2009. It is rated R.

By BRIAN TALLERICO
Content Director
HollywoodChicago.com
brian@hollywoodchicago.com

Adam Sandler is White Ladies Man in Judd Apatow’s ‘You Don’t Mess With the Zohan’

HollywoodChicago.com — Thu, 05 Jun 2008 23:01:00 -0600

Rating: 3.5/5.0

CHICAGO – In the relatively anemic anthology of recent Adam Sandler flops, “You Don’t Mess with the Zohan” hangs above with comedic charm and a nonsensically amusing plotline. The story is divisively intermingled with racial and ethnic sensitivities between the Israelis and Palestinians.

At first, it even feels like a scribe sat down for a few weeks, slammed back a few brewskies and toked daily on the good ganja while attempting to ink a forcefully novel plot.

Emmanuelle Chriqui as Dalia in “You Don’t Mess with the Zohan”.
Photo credit: Columbia Pictures

Surprisingly, its idiosyncratic nature tends to work as you build esteem for the libidinous man Adam Sandler has transformed into.

While Sandler has played the full gamut of roles in recent memory, this time he’s actually a Thor who beckons women to his sexual mercy.

Sandler as Zohan is the white version of the legendary Tim Meadows character The Ladies Man from “Saturday Night Live” but with a thick Israeli accent.

Zohan is an Israeli counter-terrorist commando who fakes his own death in order to pursue his unlikely and embarrassing dream of becoming a hairstylist in New York.

To make matters more outlandishly canned, Zohan’s arch nemesis, Phantom (played by John Turturro), has a similarly humiliating reverie: selling shoes.

Lainie Kazan is welcome motherly relief – except when she’s revealed utterly nude from the rear and causes an eruptive audience gasp – and Rob Schneider, of course, can’t let an Adam Sandler flick make it to the big screen without joining him on it.

As well, you might have noticed Dave Matthews in the film, but I didn’t.

In “You Don’t Mess with the Zohan,” Adam Sandler stars as Zohan: an Israeli commando who fakes his own death in order to pursue his dream of becoming a hairstylist in New York.
Photo credit: Columbia Pictures

Hollywood hands Sandler a bone throughout the course of his reinvented, Jason Bourne-like ways and affords him the moves, styles and suave demeanor even Sandler in real life would envy.

Indeed, he epitomizes making love and not war and even isn’t shy about “making sticky” with women who had to be pushing 80. Whew.

The one woman he fancies the most and doesn’t return your stomach’s digestive matter is the beautiful and enormously unlikely love interest Sandler would never actually touch with a 100-foot stick: Emmanuelle Chriqui.

The Israeli Zohan begs the Palestinian siren to work for her in her New York hair salon.

RELATED IMAGE GALLERY
View our high-resolution “You Don’t Mess With the Zohan” image gallery.

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More film reviews from critic Adam Fendelman.

She quixotically accepts – because Sandler’s co-written script with the on-fire Judd Apatow told her to – despite his having zero experience and initially thinking Paul Mitchell himself would hire him.

Mitchell later is wasted with an unnecessary cameo where he absurdly calls Sandler to implore his employment.

Due to Zohan’s Hollywood-blessed ability to rack in the female clientele with his sexual deviance, Sandler denies what was once his ultimate fantasy in an ultimately scripted act of employer loyalty.

This script worked its magic best when you temporarily forgot it was trying ever-so delicately to roil you silly out of your seat but fell flat when its corniness unnaturally tried much too hard.

While one could respect the amped-up Hacky Sacking, Hacky Sacking a live and meowing cat? Now come on. That’s even more cruel than squirrel fishing.

“You Don’t Mess With the Zohan” opened everywhere on June 6, 2008.

By ADAM FENDELMAN
Editor-in-Chief
HollywoodChicago.com
adam@hollywoodchicago.com