The Do-Over – Review (**)

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The Do-over

The second of Adam Sandler’s four Netflix movies isn’t quite as execrable as his inaugural outing, The Ridiculous Six, though it still coasts on bland “humour” and an excess of the “Sander-isms” that all but his most devoted fans will long be tired of by now.

Two down-and-out, middle-aged losers, Max (Sandler) and Charlie (David Spade), fake their own deaths in order to start anew, only to realise that the people they’re impersonating have a host of undesirables out for their blood.

Even if The Do-Over doesn’t plumb the depths of Sandler’s previous effort, it’s still a head-smackingly nonsensical excuse for Sandler to jet off on another paid vacation, all while making the most of as many product placement opportunities as possible.

The following brands are visible or name-dropped at least once during the movie (and I probably missed a few); Bud Light, Corona, American Express, Ford, Ferrari, Jenga, Jameson, Miller Lite, Campbell’s and Nike. Arguably the most implausible thing about the entire movie is a line where Sandler claims that he doesn’t know anyone working for Nike.

Otherwise, the pic seeks out the lowest-effort gag pretty much every time, with at least a few bordering on sexist and homophobic (or at least unsavourily milking the concept of gay panic). Still, the most repugnant joke in the entire movie involves Luis Guzman’s sweaty testicles and should never, ever be repeated.

On top of this, there’s some howlingly terrible narration from Spade which reeks of a frenzied post-production addition, two daft plot twists and a huge cast of wasted talent, including but not limited to Catherine Bell, Paula Patton, Nick Swarsdon, Kathryn Hahn, Matt Walsh and Michael Chiklis.

Still, at least Netflix promotes a no-holds-barred tone, where there’s no requirement to concede to the MPAA and bean-counting executives, right? Even so, beyond a lot of swearing and a few boobs, there’s little done with it, comedic or otherwise, with the little action proving woefully generic and mostly bloodless.

It’s not as painful as some of Sandler’s worst efforts, but that’s mostly because it’s more inoffensively dull than outright terrible. If you’re inexplicably committed to sticking with this quartet of Netflix-produced Sandler flicks, at least pat yourself on the back that you’ve now made it half-way.

**

The Do-Over is available now on Netflix

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