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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Robert Klein Still Can’t Stop His Leg

Two giants of stand-up comedy reunited.

(2016) Documentary/Comedy (Weinstein) Robert Klein, Fred Willard, Mike Binder, Bill Maher, Jon Stewart, David Steinberg, Budd Friedman, Jerry Seinfeld, Richard Lewis, Larry Miller, Sheila Levine, Myrna Jacobson, Billy Crystal, Rick Overton, Lucie Arnaz, James Burrows, Allie Klein, Robert Mankoff, Jay Leno, Eric Bogosian, Michael Fuchs, Ray Romano, Bob Stein, Melanie Roy Friedman  Directed by Marshall Fine

 

When I was in high school (and I realize this dates me tremendously) there were three names that dominated stand-up comedy; George Carlin, Richard Pryor and Robert Klein. The first two became legends, cultural icons. The third became more of an influence on other stand-ups than he did a household name, although anyone who has seen any of his numerous HBO stand-up specials will attest to the man’s genius in the field.

Film critic and historian Marshall Fine has put together this loving tribute to Klein who quite frankly deserves to be feted. The documentary is very loosely structured with a number of chapters looking at aspects of Klein’s career and comedy. This does have the effect of leaping around chronologically which is fine but it also feels at times like there is no flow to what’s going on, which may well be an appropriate measure. He talks about his history somewhat; growing up in the Bronx (as in most retrospectives Klein visits his childhood home on Decatur Avenue), his time honing his craft in both Second City and at the Improv in Los Angeles, spending time being mentored by Rodney Dangerfield, his marriage to opera singer Belinda  Boozer and so on and so forth.

He also talks about why Jews seem to dominate the stand-up market, the use of profanity in his act and adjusting to the times. He imparts some of his experience to students at Binghamton University and endures squealing little girls who see the camera and exult in being in a movie – without having a clue of who Klein is (some of him recognize him from How to Lose a Guy in 10 Days).

Fine obviously feels a great affection for his subject and we don’t get a sense that Klein is anything but a nice guy. His divorce is given little coverage and although it appears that there was some acrimony between them, the causes and effects of the split on the couple are given little play. Boozer is conspicuously not interviewed for the film.

Of course, I’m a warts and all kind of guy and I want to get to know the man behind the laughs but that isn’t what this film is after and if you’re okay with that, you’ll be okay with this. There are a lot of wonderful clips here, including some of Klein’s signature songs like “The Colonoscopy Song” and “I Can’t Stop My Leg” from which the title of the documentary is taken. This is a pleasant diversion, a career retrospective for a performer who is as sharp at 75 as he was at 25 and continues to make us laugh today. There are fewer summations of a career that could possibly be better than that.

REASONS TO GO: The film makes a good case for Klein’s place in comedy history.
REASONS TO STAY: The film is a bit of a mishmash.
FAMILY VALUES: There is some mild profanity.
TRIVIAL PURSUIT: Klein was nominated for a Tony award for his role in the musical They’re Playing Our Song.
BEYOND THE THEATERS: Starz
CRITICAL MASS: As of 4/2/17: Rotten Tomatoes: No score yet. Metacritic: No score yet.
COMPARISON SHOPPING: Lenny Bruce: Swear to Tell the Truth
FINAL RATING: 6/10
NEXT: From War to Wisdom