I know some of you do not have Netflix. I’m sure you say to yourself from time-to-time, “I should subscribe; I’m missing out on a lot of good stuff.” Periodically, that statement is true. After all, you won’t see “House of Cards,” “Bojack Horseman,” or “Orange is the New Black” in other venues. OTOH, for every hidden gem, there seems to be an entire Sandler of crap. Netflix has become the modern day infinite-monkeys-with-typewriters metaphor. And part of this simian output is tied to an extended deal whereby Adam Sandler collects his usual stable of idiots and makes another bad film every half-year or so, exclusively for Netflix. And, God help me, I watch them.
Sandy Wexler is another representative of the “sniveling Sandler” oeuvre, whereby Adam Sandler deliberately adopts an annoying, meek and oft communication-challenged personas. Such group representatives include Little Nicky, The Cobbler and, most notably, The Waterboy as the genre’s masterpiece. As the titular Wexler, Adam Sandler is a Hollywood agent with all the personality force and shrewdness of a man in a coma. This is the two-hour-and-ten-minute joke, of course. For the role, Sandler adopted an annoying nasal twang and a mouth constantly in motion to appease, I’m guessing, young people who have never seen a comedy before – maybe they’ll find it funny. Wexler’s clients reflect exactly the same level of pathetic: dime-store comic Kevin (Colin Quinn), puppeteer Ted (Kevin James), wannabe actress Amy (Jackie Sandler – say, she’s got the same last name as Adam, go figure), and the world’s worst daredevil (Nick Swardson).
The tales of Sandy and his stragglers are told banquet-casual style where recognizable actors and comedians dressed to the nines reflect on the man. If this sounds familiar to Woody Allen fans, it should. This is the basic framework of Broadway Danny Rose, a superior film in most every single way, especially as Woody doesn’t generally prefer Rob Schneider cameos.
The main premise of Sandy Wexler is not the random tales of his untalented acts –although believe me, this films skimps on nothing – our focus is instead on the one talent Sandy discovered, costumed amusement park entertainer Courtney Clarke (Jennifer Hudson). Instantly mesmerized by Courtney’s voice, Sandy makes the first and only display of good judgment in his lifetime, insisting that he represent her
and raise her above the child birthday party circuit. Perhaps there are adult parties in her future. Wait, that’s not right.
Jennifer Hudson has a marvelous voice. Courtney’s “breakthrough” song “Mr. DJ” is by far the best part of Sandy Wexler. Yup, she can sing, sing, sing. And wow, is Jennifer Hudson a lousy actress. I can’t possibly stress that enough; her ability to sell an emotion simply doesn’t exist. Great voice. Lousy actress. Why did this not come up in Dreamgirls?
I have no idea what sadistic editor decided to promote this comedy with over a two-hour run time. Personally, I didn’t even smile until the 15th minute and I sure didn’t smile much –or at all- after. Hudson’s voice and few amiable surprise walk-ons keep this film from being an absolute disaster, but, boy, at his current ability to entertain, Adam Sandler should never make a film that lasts more than ninety minutes. Personally, I’d prefer if they were under ten.
♪And I am telling you I’m not growing
I’m the best that I’ll ever know
There’s nowhere my career can go
No, no, post-Sandler
No, no, no, no way I’m thriving on my own
I’m not striving past Adam
I think we can agree
I’m tethered
Altogether
And you, yeah you
You’re gonna leave me oh ooh mm mm
You’re gonna leave me♫
Rated TV-14, 130 Minutes
D: Steven Brill
W: Adam Sandler
Genre: The pretense of comedy
Type of person most likely to enjoy this film: Guessing Netflix executives, maybe?
Type of person least likely to enjoy this film: Have you had enough of Adam Sandler? This won’t help.
♪ Parody inspired by “And I Am Telling You I’m Not Going”
