This Smack takes us far from the terror-tory of evil Godzilla, doing his best to annihilate Tokyo, or the mayhem wrought by the homicidal dinosaurs of the various Jurassic Parks. While monsters have been intimidating heavies in many of movieland’s most horrific films, that’s not the case with the lead characters in this pair of contestants, which feature bizarre, animated creatures as heroes and saviors in the twin Pixar offerings Monsters, Inc. and its new prequel, Monsters University. […]
The Possession: From the writing team and producer who brought you Boogeyman! No, not that Boogeyman, the other one. Yeah, okay, there’ve been a few, so we can understand your confusion. The 2005 Boogeyman! You know, the one with the kid from Seventh Heaven and Zooey Deschanel’s less annoyingly quirky sister? Yeah, that’s the one! Same folks!
And so ends my brief career of writing movie poster copy. But the point is, as you can see, The Possession, the new horror release from the producing shingle of the extremely busy and formerly cool Sam Raimi, comes with quite the pedigree. After Boogeyman (on which they share writing credit with Eric Kripke), screenwriting team Stiles White and Juliet Snowden would go on to pen such immortal classics as Knowing (2005) and The Proud Family Movie (2009). With The Possession, though, they return to their domestic horror roots, so what better way* to celebrate the closing of this vicious circle than with a good old-fashioned Smackdown? […]
We all know that guy, maybe in high school or college, who was a complete idiot most of the time. This is the guy who ran naked through the football field at Homecoming or would eat anything at lunch for a quarter. You know the type. Years later, you may have seen him with his family and thought to yourself, “How the heck does he have kids?”
That’s the way I felt about Adam Sandler. After seeing his wacked-out characters in everything from Billy Madison to Happy Gilmore to The Waterboy, I wondered how anyone could cast him as a caring, down-to-earth father figure. After all, he’d spent most of his adult life playing a man-child.
Then, Sandler was cast as a father in two separate movies, Big Daddy (in 1999) and Click (2006). The first was an edgier Sandler, forced to play the role of a reluctant surrogate father. In the second, the broad comedy of Sandler is more apparent as he plays a man trying to make time for his family and his career.
The question is, which film best captures Sandler’s charm to make us look past his goofy tendencies and appreciate his dad appeal? […]