Sandy Wexler

Sandy Wexler is pleased.

(2017) Comedy (Netflix) Adam Sandler, Jennifer Hudson, Kevin James, Colin Quinn, Nick Swardson, Jackie Sandler, Terry Crews, Rob Schneider, Lamorne Morris, Aaron Neville, Jane Seymour, Luis Guzman, Arsenio Hall, Quincy Jones, “Weird Al” Yankovic, Kenneth “Babyface” Edmonds, Mason “Ma$e” Betha, Rob Reiner, Chris Elliott, Eugenio Derbez, Milo Ventimiglia, Jessica Lowe. Directed by Steven Brill

 

We all know the big names in front of the camera. Some of the more dedicated movie buffs also know the big movers and shakers behind the camera Then there are the guys on the periphery, the outsiders. The guys like Sandy Wexler.

Wexler (A. Sandler) worked as a talent agent in the mid-90s in Los Angeles and to say he had A-list clients would be the kind of lie that he was well-known for saying; Sandy is almost pathologically incapable of telling the truth. He is also as pathologically loyal to his clients who are among the dregs of show business; a daredevil (Swardson) who has issues colliding with birds, a ventriloquist (James) who dreams of stardom on UPN and Bedtime Bobby Barnes (Crews) who’s a wrestler with a unique ring persona.

None of them have much of a future and quite frankly Wexler isn’t much of a manager either, promising gigs that never materialize or are much different than he represented on the phone. He drives his clients crazy but he’s also there for them when they need him most. One afternoon, he is taking the daughters of a client to a local theme park and there he hears the voice of an angel. It belongs to Courtney Clarke (Hudson) and Wexler knows that for the first time in his career, he has a legitimate talent right in front of him. After convincing her convict dad (Neville) that he can take her career to pop stardom, Courtney signs up with Wexler.

It doesn’t hurt that Sandy has a bit of an awkward crush on her, although she doesn’t seem to notice. Still, he manages to use his connections to get her in front of people the likes of Babyface and Quincy Jones. He also runs into a few sharks and it becomes pretty obvious that he’s way out of his depth but if there is one thing that is true about Sandy Wexler is that he believes in his clients and he believes that he can actually do them good. And maybe, in this one shining example, he might just find the warm glow of the big time within reach.

Sandler’s last three movies (including this one) have all been direct-to-Netflix and together with the last few theatrical features have been on a downward slide pretty much since Funny People. It’s nice to be able to say that this one is actually better than most of his recent films. There is a charm and warmth here that have been missing from his movies for awhile. There are few actors who can pass for amiable as well as Sandler – basically because that’s how he is away from the cameras by all accounts. He is at the top of his game in that regard here.

The story is mainly told in flashback, with dozens of celebrity cameos (including Chris Rock, Conan O’Brien, Penn Jillette, Rob Reiner, Pauly Shore, Jimmy Kimmel, Jon Lovitz, Dana Carvey, Janeane Garofalo, Louie Anderson, Jay Leno, Richard Lewis and Kevin Nealon, just to name a few) giving testimonials in some sort of celebration (we don’t find out what’s being celebrated until the very end of the picture). The celebrity testimonials are fun, one of the highlights of the movie. Some of them are genuinely funny.

The jokes for the most part are groaners, although not all of them are. It’s shtick for certain, but it is Grade A shtick nonetheless. The movie runs well over two hours long which may exceed your particular tolerance for an Adam Sandler movie, but for some may find that to be not a factor. I’ll admit I was checking my watch near the end.

This also has a definite feel for a lot of Sandler’s other films, particularly of the last decade or so which may be a deal breaker for some. It also may be for others a deal maker so it really depends on how you feel about Sandler and his type of humor in general. You will get the full Sandler shmear; shuffling hunched posture, funny voices, product placement and the usual cast of Happy Madison regulars (Happy Madison is Sandler’s production company).

Still, whether you love him or hate him, Sandler does have a knack for making one feel good as one watches the closing credits roll. This doesn’t stand among his best work but it is certainly the best movie that he has made for Netflix to date. Sandy Wexler stands as a heartfelt tribute to the outsiders on the fringe of the entertainment business, the ones who have more heart than talent whose eccentricities are endearing rather than annoying – mostly. There’s definitely room for a movie like that in the hearts of those who have a fondness for that kind of subject.

REASONS TO GO: The celebrity cameos are a lot of fun. The viewer is left with a pleasant feeling.
REASONS TO STAY: The jokes are really cornball. A little too much like Sandler’s other recent films.
FAMILY VALUES: There is some sexuality as well as rude humor.
TRIVIAL PURSUIT: The character of Sandy Wexler is based on Sandler’s real-life manager Sandy Wernick who also makes a cameo in the film.
BEYOND THE THEATERS: Netflix
CRITICAL MASS: As of 8/30/17: Rotten Tomatoes: 28% positive reviews. Metacritic: 40/100.
COMPARISON SHOPPING: Broadway Danny Rose
FINAL RATING: 6/10
NEXT: Pirates of the Caribbean: Dead Men Tell No Tales

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Daredevil

Matt Murdock and Elektra Natchios engage in a little foreplay.

(2003) Superhero (20th Century Fox) Ben Affleck, Colin Farrell, Jennifer Garner, Michael Clarke Duncan, Jon Favreau, Scott Terra, Ellen Pompeo, Joe Pantoliano, Leland Orser, Lennie Loftin, Erick Avari, Derrick O’Connor, Paul Ben-Victor, David Keith, Kevin Smith. Directed by Mark Steven Johnson

It is a fact that every day, handicapped people show over and over again that they are capable of amazing things. Some are aided by technology but much of it is sheer willpower.

The young Matt Murdock (Terra), who has stood up for his father (David Keith) when neighborhood punks call him a washed-up boxer and a mob enforcer, is shocked one day to spot his loving dad thumping on someone who hadn’t been making his vig. Matt runs off, causing a traffic accident that ends with him being doused by toxic waste, right in the eyes. This leaves him blind for life. However, there is an interesting side effect: Matt wakes up to find he has outrageously acute hearing, including a kind of sonar sense, which allows him to “see” almost as well as any sighted person — better, in some ways.

He also spends time developing his body into a graceful, acrobatic, athletic machine. When his Dad refuses to throw a fight and is murdered, his son is left to seek revenge. The adult Matt Murdock (Affleck) becomes a lawyer. Justice being blind jokes aside, he has a particularly strong streak of wishing to do the right thing in him.

Not content at achieving justice through conventional means, Murdock adopts the persona of Daredevil, utilizing a red leather costume, and becoming a semi-urban legend in New York, one that reporter Ben Urich (Pantoliano) is hell-bent on tracking down. Those who have seen the first Batman movie will note the similarity. His day job allows Murdock to represent the downtrodden, much to the chagrin of partner “Foggy” Nelson (Favreau), who yearns for clients who pay in actual cash, rather than in foodstuffs. Murdock meets Elektra Natchios (Garner), the daughter of a wealthy industrialist (Avari) who is in bed with the corrupt Wilson Fisk (Duncan), the legendary Kingpin of Crime. When Natchios tries to get out of business with Fisk, the Kingpin brings in a psychopathic master of hurled objects, Bullseye (Farrell) to kill Natchios, which he does, framing Daredevil for the deed in the process. Elektra — who is falling in love with the blind lawyer, swears revenge, not knowing that it is his alter ego she has sworn to kill.

The New York City of Daredevil is a dark, gothic place, not unlike the Gotham City of Batman, and like the Caped Crusader, Daredevil inhabits the shadows and rooftops of a corrupt, dangerous city. The problem with casting Affleck in the role of Matt Murdock is that he is far too likable. Affleck doesn’t carry off the brooding vigilante as well as he does the wisecracking lawyer, so the dual personality of Murdock doesn’t mesh as nicely as it could.

Farrell carries the movie, enthusiastically chewing the scenery and spitting it out so he can chew more. Favreau and Duncan are excellent as they nearly always are; Favreau would go on to direct the Iron Man movies but his association with the Marvel studios began here. His chemistry with Affleck is pretty keen.

The Elektra of the comics is far more threatening than the Elektra of the big screen. Garner, who on paper is an excellent choice to play her, is dispatched with near-comic ease in nearly every fight she takes part in. This compares unfavorably to the character in the four-color version (who is kickus assus maximus to the nth degree) and herein lies the problem with any adaptation of any comic.

Those who love the comic book will inevitably measure the movie against the comic, and in most aspects will find it wanting. Daredevil has always been one of the consistently best-written and innovative of story in Marvel’s arsenal. The movie’s writing denigrates it to an unsophisticated Batman knockoff. Yet, there are moments of poetry, such as when Murdock asks Elektra to stand in the rain, which allows him to see her face using his radar sense. That’s one of the best moments of any Marvel superhero film, ever.

A nice little aside – many of the characters here are named after comic book writers and artists, many of whom who worked on the Daredevil book itself. There are also several people associated with Daredevil’s long run at Marvel (including Smith, Stan Lee and Frank Miller) who make cameos in the movie. In addition, something must be said about the soundtrack which is one of the best for any movie in the last ten years. The tracks from Evanescence are particularly haunting. Also, The final confrontation between Fisk and Daredevil is very nicely done, visually speaking although the whole thing of the little water conduits running below the floor are head scratch-inducing.

Overall, this isn’t a bad movie. There are some deficiencies, true, but there is a large number of things the movie does well. Affleck would have been an excellent Daredevil had he another movie or two under his belt. The most important thing here however is to take the movie on its own merits. Try not to see it as a note-perfect portrayal of the comic hero, because you’ll only wind up disappointed. Judge it for what it is; a better-than-average action-adventure movie, and you’ll enjoy it a lot more.

WHY RENT THIS: Better than average action movie. Fine supporting performances from Farrell, Duncan and Favreau.

WHY RENT SOMETHING ELSE: A bit of a Batman knock-off. Affleck carries off Murdock better than Daredevil. Elektra a bit too wimpy here.

FAMILY VALUES: There’s some violence and a bit of sensuality.

TRIVIAL PURSUITS: This was the first American movie in which Farrell uses his native Irish brogue.

NOTABLE DVD FEATURES: The DVD features a featurette on the comic book series, a comparison of the “Shadow World” as visually realized in the movie vs. the comic book, three music videos and an enhanced viewing feature which, when an icon appears onscreen, allows viewers to see the same scene from different points of view. There is also a Directors Cut DVD edition which restores 30 minutes of footage to the film, cut initially to bring the movie from an R rating to PG-13.  However, oddly enough, the Directors Cut edition has almost no special features, merely a commentary track and a 15 minute making-of featurette. The Blu-Ray contains both the Directors Cut and all the features from the initial DVD release and as such is the best bet for those interested in the movie.

BOX OFFICE PERFORMANCE: $179.2M on a $78M production budget; the movie broke even.

FINAL RATING: 7/10

TOMORROW: Tower Heist

Daredevil

The man without fear...of red leather.

(20^th Century Fox) Ben Affleck, Jennifer Garner, Colin Farrell, Michael Clarke Duncan, Jon Favreau, Scott Terra, Ellen Pompeo, Joe Pantoliano, David Keith, Leland Orser, Erick Avari, Derrick O’Connor. Directed by Mark Steven Johnson

In the wake of the success of X-Men and Spider-Man, the rights to a boatload of Marvel superheroes were sold to several studios eager to cash in on the superhero craze. This led to a glut of hero movies in the middle pat of the last decade wth some of the releases being better than others.

Matt Murdock (Affleck) is a lawyer who was blinded in an accident as a young boy (Terra). His father Jack “The Devil” Murdock (Keith) is an ex-prize fighter trying to raise his boy as best he can on his own, desperately hoping he won’t make the same mistakes he did and elevate himself from a Hells Kitchen he could never escape himself.

Matt is bright enough although he gets picked on by the local bullies because he won’t fight, at the behest of his father. Young Matt believes his father to be an honest dockworker, but Jack has been picking up extra cash working as hired muscle for a local crime boss. When Matt accidentally witnesses his father’s other line of work, he runs blindly away, and winds up being dowsed in the face by the proverbial toxic liquid.

The result is that the boy is blinded for life, but the compensation is that his other senses sharpen significantly. As a matter of fact, he uses sound as a kind of “sonar” to allow him to “see” images. Tired of being picked on, he begins to work out, train himself to fight. In the meantime, Jack is shocked into going back on the straight and narrow and takes up fighting again and does pretty well. However, when he refuses to throw a fight, he is murdered.

Years later, Murdock works alongside his partner Foggy Nelson (Favreau) in a Hells Kitchen law firm that specializes in taking on the cases of the underdog against the corrupt and the untouchable. It doesn’t pay very well – often the poor clients pay in fish or some other form of barter – but Murdock is able to sleep nights. Well, he would if he were sleeping; instead, he goes out to exact justice that he can’t obtain as a lawyer as a costumed vigilante known as Daredevil. The police, predictably, pooh-pooh his existence but a lone reporter, Ben Urich (Pantoliano) pursues the story with the zeal of Woodward and Bernstein.

Murdock meets Elektra Natchios (Garner), the daughter of a billionaire, in a coffee shop and falls for her instantly. The attraction is mutual; she also has superb martial arts training and this is one of those rare courtships that take place by beating each other up. Elektra’s dad (Avari) is tied to the new crime boss, Wilson Fisk (Duncan) a.k.a. the Kingpin of Crime, and is anxious to get out and retire. Fisk doesn’t like people backing out on him and hires an Irish hit man named Bullseye (Farrell) to take care of business.

Bullseye has the uncanny knack of accuracy. Anything he throws hurls or shoots hits its target without fail. When Murdock discovers what’s going on, he immediately changes into his Daredevil guise and rushes out to protect the father of the woman he loves. Unfortunately, he gets there too late to prevent Natchios’ death, but just in time for Elektra to mistakenly believe him responsible. He also manages to avoid one of Bullseye’s projectiles, earning the obsessive enmity of Bullseye in the process.

Director Johnson was woefully inexperienced when he was given this project to direct and in many ways, it shows. What also shows is the reverence and respect in which he holds the source material. It becomes a two-edged sword; some of the elements he wants to bring from the comic book series (such as Daredevil’s uncanny agility) don’t translate well, although at the time it was released I thought it looked fine to be honest. After watching it at home recently, I found the wire work to look unnatural and there is quite a bit of it.

Affleck was uncomfortable playing a costumed superhero and it is very apparent. When he’s Matt Murdock, for the most part he’s fine. However, there are times as Murdock when he looks soulful and a bit sorry for himself; that just doesn’t jive too well with the costumed vigilante that Daredevil is and who Matt Murdock is on the comic book page. There, Murdock is stubborn and principled and prone to leaping where angels fear to tread – he is literally without fear. Here, Affleck plays him as stubborn and principled and a bit of a whiner. It’s not a bad performance but it isn’t the right one.

Garner was magnificent as Elektra here, which makes the spin-off film she did on the character all the more mystifying in how truly awful it was. She makes Elektra passionate and real, suspicious and lethal. The comic book character is one of the most compelling in the Marvel universe and while she doesn’t quite reach those standards, Garner does do a fine job in bringing her to life.

Duncan and Farrell both look like they’re having the time of their lives in the villain roles, with Farrell often looking up with a boyish smile like he just discovered its Christmas morning. Few actors today can play villains with the kind of relish that Farrell brings to the role. Duncan is far too jovial as a person to make Fisk as menacing as he is on the comic book pages, but he manages to make him memorable nonetheless.

Fox has had several of the Marvel properties under its banners (including the ongoing X-Men and the Fantastic Four) and while the movie was a success for the most part, it never achieved the popularity or acclaim to make a sequel likely – in fact, Affleck has stated flat-out that he would not consider playing the role again, or any other superhero role for that matter.

In any case, the movie is entertaining enough to recommend it and the soundtrack with its loud guitar-oriented rock is one of the better movie soundtracks of the last decade, and it made a star of Evanescence, which may or may not be a bad thing depending on your view of Evanescence (good thing in my book). If you’re looking for something to transcend the genre, keep on moving. If you’re looking for something that will keep you interested and invested for 90 minutes, you’ve found your movie.

WHY RENT THIS: There are times when Affleck is effective as Matt Murdock. The supporting cast is excellent. The filmmakers hold the source material in high regard and utilize a lot of elements that will make Daredevil fans smile. The soundtrack is great.

WHY RENT SOMETHING ELSE: The overuse of wirework makes the fight scenes look just awful. Affleck spends too much time looking soulful and trying to evoke pathos; the Matt Murdock I know doesn’t feel nearly as sorry for himself.

FAMILY VALUES: Plenty of comic book violence and some sensuality, but nothing too graphic.

TRIVIAL PURSUIT: The budget for the movie was initially set at $50 million, but after the success of Spider-Man Fox upped the budget to $80 million.

NOTABLE DVD EXTRAS: The Blu-Ray includes several music videos from the soundtrack, “Men Without Fear: Creating Daredevil” which focuses on the creative aspects of the comic series and “Beyond Hell’s Kitchen” which details the challenges and tribulations on getting the movie made.

FINAL RATING: 6/10

TOMORROW: Revolutionary Road