Netflix And Chill: Murder Mystery 2 (2023)

As many people will already know, I have been a Sandler apologist for much longer than most people. I understand that a lot of his comedy vehicles over the past few decades have been neither big nor clever, and he leans heavily into choices that guarantee people will love or hate him, but I still tend to find enough in them to have a few chuckles. There have been a couple of absolute stinkers, but I can generally go into a Sandler movie with the knowledge that I'll at least not hate it. Judge all you want. While he may no longer tickle the funny bone as well as he did with the likes of Happy Gilmore, Billy Madison, and The Waterboy, Sandler still aims to please his fanbase, usually while he assembles a group of people that he enjoys spending time with and gets them a paid vacation in some beautiful and sunny foreign climes.

Starting off with some narration that briefly recaps the first movie and shows viewers what Nick (Sandler) and Audrey (Jennifer Aniston) have been up to for the past few years, Murder Mystery 2 then allows our characters to head off on another, long overdue, vacation, this time as special wedding guests of their friend, the Maharajah (Adeel Akhtar), who is delighted to introduce them to his bride-to-be, Claudette (Mélanie Laurent). Unfortunately, the wedding is ruined by the Maharajah being kidnapped, and the circumstances of the kidnapping lead Nick and Audrey to suspect a small handful of other guests. There's Claudette herself, a womanising ex-footballer named Francisco (Enrique Arce), the Maharajah's sister (Saira, played by Kuhoo Verma), and Countess Sekou (Jodie Turner-Smith). There may be others involved in the scheme though, and a super-agent named Miller (Mark Strong) comes along to show everyone how an investigation and hostage negotiation should be done.

While it's now Jeremy Garelick in the director's chair, who had what I would consider a moderate success with his previous comedy, The Binge (hey, it did well enough to get a sequel), writer James Vanderbilt returns, the leads are reunited with a familiar face or two from the first film, and there's a feeling of nobody wanting to upset what they obviously consider as having worked well enough the first time around.

Sandler and Aniston once again work well together, the latter continuing to deliver the kind of genuinely great comedic performance that it's all too easy to forget she can do (despite her biggest success being in quite a well-known sitcom) and the former feeling believably, but lovingly, held in check during times when he might otherwise get carried away. It's a shame that the supporting cast isn't as much fun this time around, although everyone works with what they're given. Laurent and Verma aren't given enough to do, and Turner-Smith, her character accompanied by a toadying sidekick (played by Zurin Villanueva), is out of the picture far too soon, but both Arce and John Kani (returning to the role of Colonel Ulenga, now with one less arm than he had last time we saw him) deliver some good lines, and Strong has a lot of fun in the kind of role that is as familiar and obvious as it is entertaining. Akhtar is, of course, onscreen for a lot of the runtime, which isn't a bad thing if his character grates on you slightly, and Dany Boon returns as Inspector Delacroix in time for the third act.

It's been a while since I watched Murder Mystery (hey, I may not hate Sandler movies, but there aren't many that I rush to rewatch lately), but this sequel feels as if it is trying to deliver a bit more action and spectacle. From a lovely wedding dance sequence to an impressive high-speed drive through Paris, not to mention a surprisingly satisfying and memorable final set-piece, there's a better sense of balance between the gags and the actual central mystery being solved.

Very few people will agree with me here, and many won't even bother wasting their time with another Sandler vehicle, but I liked this a little bit more than the first film. Considering I liked the first film more than most, you may just want to discard my whole opinion on this one. It's entirely up to you, but you'll miss some wonderful scene-stealing from Aniston.

6/10

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Prime Time: Along Came Polly (2004)

In the rather small list of actresses who have more than once played characters evaluated by someone nerdy enough to use statistics and/or a list of good and bad qualities, Jennifer Aniston ends up at the very top. After being put through that particular humiliation once in Friends, she is here made to go through an all too similar experience here. All because she ends up dating someone who goes through life trying to minimise risk.

Ben Stiller is Reuben Feffer, a man who lives his life in much the same way he does his job, by analyzing risks. This leads to him being blindsided while his new wife (Debra Messing) cheats on him during their honeymoon. Heartbroken and out of sorts, he then meets up with Polly (Aniston), and the two soon attempt a few dates, none of which are as safe as Reuben would like them to be.

It's worth bearing in mind that Along Came Polly is about as safe a rom-com for everyone involved as it is possible to get. One or two seconds of bawdiness aside, it plays out exactly how you think it will, and every cast member is allowed to stay well within their comfort zone. Aniston is a beautiful woman who isn't always as organised and sensible about things as she could be (ring any bells?), Stiller is a fairly repressed man who starts to enjoy the process of loosening up slightly (yep, he's done that before), and Alec Baldwin is onscreen just long enough to remind you why a small role for Alec Baldwin is almost always a good thing. Even Philip Seymour Hoffman is very much at ease, having a lot of fun in one of his all-too-rare comedic turns (standard comedy, there are a lot of wonderful performances from Hoffman that use him well in darkly comedic ways).

Written and directed by John Hamburg, who had previously worked on the scripts for both Meet The Parents and Zoolander for Stiller (and would also work on the sequels to those movies), there's nothing here that shows any attempt to even push against the rom-com boundary lines. The infrequent moments of toilet humour and slapstick have been done better in other movies, the leads don't have any decent chemistry together (as much as I like him, Stiller is a difficult male lead for females to create chemistry with), and none of the set-pieces are that funny. It's also hard to care about the characters, nothing is really earned and it's just a case of waiting for the dominoes to knock each other over on the way to the ending.

It's passable entertainment if you don't mind Stiller and Aniston in the main roles, but the most pleasure comes from those providing support, be it a slick-as-ever Baldwin turn, a wonderfully selfish Hoffman, a daredevil tycoon played by Bryan Brown, and even a scuba-diving lothario played by Hank Azaria. Never one that will top any lists of firm favourites, Along Came Polly is the kind of film you end up watching in the afternoon while staying in bed during a sick day. Hardly a glowing recommendation, I know, but different movies can fulfil different needs when the time is right.

5/10

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Netflix And Chill: Murder Mystery (2019)

A comedy that throws together Adam Sandler and Jennifer Aniston for a second time (after they were paired up in the enjoyable Just Go With It), Murder Mystery is a fairly enjoyable comedy thriller that allows the leads to work together just as well as they did the first time around. A lot of people will already be dismissive of it, Sandler's name nowadays is enough to make many steer clear, but this is a perfectly fine way to spend just over an hour and a half.

Sandler is Nick Spitz, a New York police officer who keeps failing the detective exam. He's really good at the detection part, sometimes, but is a lousy shot. Aniston is his wife, Audrey, and she is delighted to hear the "good news" when her husband cannot bring himself to admit that he failed the exam once more. As their wedding anniversary is coming up, it seems like the perfect time for that trip to Europe that had been delayed for years and years. And that's where they meet Charles Cavendish (Luke Evans), who ends up inviting him to a private party on a large and lavish yacht, which is when someone is murdered. And Mr & Mrs Spitz turn out to be very prime suspects in the eyes of Inspector de la Croix (Dany Boon).

Directed by Kyle Newacheck (who I am now familiar with after enduring Game Over, Man!) and written by James Vanderbilt (who has a filmography that includes the high of Zodiac and the low of something like Independence Day: Resurgence), I have to admit that my hopes weren't high for this. As much as I have tried to maintain my positivity when it comes to Sandler movies, his work over the past 10-15 years has been far from his best, to put it mildly. The fact that everyone pulls together to make something moderately entertaining is a very pleasant surprise indeed. Newacheck may not have the best eye, or any sense of style, but he does fine when it comes to keeping the energy building from scene to scene, allowing small gags to pile up in between the attempted bigger laughs (which don't work as well), and generally giving the leads room to play around with their interplay and physical comedy.

Vanderbilt hasn't crafted any kind of comedy classic here but he plays to the strengths of the cast. Sandler and Aniston have great chemistry together, Evans gets to be completely charming with almost every line he utters, and there is fun to be had with Terence Stamp being gruff, David Walliams being a bit catty, Gemma Arterton being a gorgeous actress, and, well, you can see what I mean.

The performances are all decent too, with the not-inconsiderate plus point of Sandler not putting on a "funny" voice for his main character. Everyone I've already mentioned does a good job, and there's also room for fun with John Kaji and Adeel Akhtar, as well as one or two others.

If you're a cynic then you could look at Murder Mystery and say that the thriller aspect isn't as good as it could be, the laughs aren't as prolific, and the set-pieces aren't anywhere near as ambitious as they could be. But that doesn't mean that any of those things are actually bad. They are all enjoyable, without reaching a level of greatness. And I know the fact that many aspects of this film are enjoyable makes the end result a lot better than most of you were expecting.

6/10

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Office Christmas Party (2016)

The office Christmas party, eh. It's an annual tradition for many. The one night of the year when everyone drinks too much, some embarrassing truths are voiced, folk photocopy various body parts, the dancing varies from the sublime to the ridiculous, and occasionally someone goes up to the big boss and says or does something so insane that they are never seen in the workplace again.

With all that in mind, it's surprising that we haven't had a big Christmas comedy based around that tradition before now. Am I forgetting any other candidates? If so, I am happy to stand corrected (and can only blame my failing memory). What isn't surprising is that this particular film tries to take the premise and use it as the structure upon which to hang a bawdy comedy along the lines of The Night Before, Horrible Bosses, and We're The Millers. I mention the first because it's Christmassy, obviously, but the other two are perhaps more appropriate, mainly because of how they use Jennifer Aniston and benefit from a selection of great supporting players.

Jason Bateman stars as Josh Parker, a man who is working for a tech firm that might not survive beyond Christmas. The boss (T. J. Miller) has been ordered by his sister (Jennifer Aniston) to avoid throwing any kind of party, and to not give anyone a Christmas bonus. Which means, of course, that he instead decides to try winning over a potential new client by throwing the biggest, wildest Christmas party ever and letting people win their cash bonuses inside a money tornado machine. This is a nightmare for the uptight head of HR (Kate McKinnon), and soon leads to a potential nightmare for everyone else, when they realise that their jobs are on the line and their boss may not have taken the best approach to guaranteeing that the business remains solvent.

Josh Gordon and Will Speck directed this, both also responsible for the highly enjoyable Blades Of Glory, and the script was written by Dan Mazer, Justin Malen, and Laura Solon. Two directors and three writers. But those three writers were developing a script from a story that was created by THREE OTHER WRITERS, apparently. How hard is it to throw together some big laughs for a comedy that is set during an office Christmas party? Very hard, it would seem, because there aren't many big laughs here.

The film isn't actually bad, and I had lots of little chuckles all the way through, but there aren't really any moments that stand out. No one memorable scene that you can talk about with friends as a shared favourite moment. And that's a great shame, considering the people involved. Hell, there's even a fleeting dance off between two characters that should have been a highlight, but is instead too short and safe to prompt anything more than a wry smile.

Bateman does his usual thing here, and has it locked down as usual. Miller is someone I like, but I could absolutely see him as being the grating type, so be warned. Olivia Munn also plays one of the main characters, but she's really not onscreen for anything more than plot progression and to motivate the growth that we expect to see in Bateman's character, who spends a lot of time being told how he always plays things too safe. Aniston is also ill-served by the script, although that comes from her being the nominal villain of the piece and having to play things that way as one-note as possible until the writers change things too late for anyone to really care. McKinnon is very funny, but I am pretty sure she can spin gold out of the most threadbare material at this point, and Courtney B. Vance, Rob Corddry, Vanessa Bayer, Randall Park, and Karan Soni are among the other wasted talents. Jillian Bell is a definite highlight, and the writers do well to bring her character in at just the right times.

It will do if you want a few laughs from something that isn't also drowning in sugary sweetness, but Office Christmas Party is certainly not bound to become a festive tradition. I doubt it will be remembered in a few years time, and that's no bad thing.

6/10

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Adam Sandler . . . . . . . in his defence.

Okay, let me be clear on one thing here, right from the start. Adam Sandler is very probably far too busy enjoying his millions and millions of dollars to worry about how the general public, or perhaps just those who are more vocal online, have decided to loathe him. So to think that he needs, or even wants, any defence is pretty ridiculous. Despite some people now labelling him as one of the very worst things about modern mainstream cinema. This small article is just my own way of letting off some steam and hashing out some thoughts. Yes, it's like almost every other article/review on this blog.

Adam Sandler is, at the time of me writing this post, 49 years old. And he's been trying to make audiences laugh with his onscreen antics for just over 2/3 of his laugh. Despite appearing in a variety of movies  - such as Going Overboard, Mixed Nuts, Airheads and Billy Madison - and the American institution that is SNL, Sandler REALLY managed to strike gold with Happy Gilmore, a golf-centric comedy that used his angry manchild schtick to great effect. This was the film that, as far as I can tell, started to get him known internationally. The next film didn't do much for his profile, although Bulletproof is a fun action comedy, but it was only a couple of years later that The Wedding Singer paired Sandler up with the adorable Drew Barrymore, an onscreen pairing that would eventually lead to us also receiving 50 First Dates and Blended (for better or for worse).

But outwith that somewhat winning romcom formula, Sandler has spent his time mixing his projects up more than many could have ever expected. He has created an ensemble of friends that he likes to work with (as you can tell from watching the Grown Ups movies, That's My Boy, Pixels, Jack And Jill, I Now Pronounce You Chuck & Larry and many more), but he has also taken occasional dramatic turns (most notably subverting his comedic angry outbursts in the superb Punch-Drunk Love, although I also recommend checking out Spanglish) and has taken on strange, albeit high concept, fare such as Click and The Cobbler. Does any of this make up for the awfulness of Eight Crazy Nights? No, but I'll always have The Waterboy so it's all good. Oh, I'd better mention Just Go With It so that I can link to my review. 

A few things happened over the past year or so that made me think about just how I, in contrast to some other fine folks, view Adam Sandler (and, believe me, I have actually seen most of his filmography - and I even find You Don't Mess With The Zohan hilarious . . . . . . because it is). The first major incident was when Rose McGowan brought a LOT of attention to a casting note that read as follows: "Please make sure to read the attached script before coming in so you understand the context of the scenes. Wardrobe note: Black (or dark) form-fitting tank that shows off cleavage (push-up bras encouraged). And formfitting leggings or jeans. Nothing white."
I don't work in Hollywood, or any part of the film industry, so I don't know if this is a common occurence. McGowan was highlighting the disparity between the genders and the constant differing standards placed on women who are all fighting for roles that can often be little more than eye candy. I ain't going to argue with that. All I will say is that a) Adam Sandler makes movies in which gorgeous women seem to have fallen in love with Adam Sandler, which should let you know what the role involves right there, and b) I think casting notes have sometimes specified what people should wear. I am not saying that either of these things SHOULD be, please bear that in mind. I am just saying that they are. Unless they actually aren't, and if that is the case then feel free to correct me, and pelt me with rotten veg, and so on and so forth.

The second main "Sandler scandal" occurred when about a dozen Native American actors walked off the set of The Ridiculous 6 due to their displeasure of certain aspects of the movie. As well as my not working in any part of the film industry, I am also not a Native American. So I can't say what feelings would well up in me if I saw the bad, broad jokes peppering the script of The Ridiculous 6. All I can say is that, when I finally saw it, I didn't think it was as bad as many people were expecting it to be. Oh, it had a certain air of awfulness. But I never felt that Native Americans were actually the butt of any of the jokes (beyond some juvenile character names). Of course, I can say that from a privileged position. But I have often said that I have never been offended by my own race (the Scots) being depicted in broad strokes for comedic effect. Scrooge McDuck, Braveheart and Begbie don't exactly give us a broad range of idols. And that's after the years spent washing my brain out after realising that The Krankies were actually husband and wife.

That incident allowed people to further bemoan Sandler and loudly announce that the deal he made with Netflix would result in a selection of movies they would never watch if their lives depended on it. And, really, it's that strange palpable loathing of Sandler that got me thinking. Why DO people now seem to hate him?

Yes, he's been reworking his style for a number of years now. The law of diminishing returns comes into effect when you take so many trips back to the same well, but the exact same criticism could be levelled at Bill Murray, Ben Stiller, Arnold Schwarzenegger, Robert Downey Jr, Steven Seagal, Quentin Tarantino. I like all of those people. Well, apart from Seagal (and even he managed to give us some good stuff before he got too lazy to even hire convincing stunt doubles).

He works with the same people again and again, and a number of his movies feel like they were just made as an excuse for everyone to have fun and maybe have a paid holiday. Yep, and if only every movie star was so lucky. The same thing could be said about Burt Reynolds, at his peak, Steven Soderbergh, numerous Samuel L. Jackson movies (doesn't he make movies depending on where he wants to play golf, or am I misremembering?), Brett Ratner, etc.

He goes for the easy gags. Yes, he totally does. And, you know what, sometimes the easy gags are still funny. And many comics will go for the easy gags if they want to get a laugh.

His movies are offensive. Well, you know, comedy sometimes offends. Particularly when people seem to be on the prowl for something to be offended by. If you're offended by the very fact that Sandler still gets big bucks for his comedy then that's something I can understand. I don't agree, but I understand it. If you're offended by the content of his movies then I just don't get it. Oh, I am sure there ARE some offensive gags, especially considering the level of humour that Sandler and co. always seem to aim for, but I do think that there's an even quality to his movies that just sets up everyone to be the butt of at least one broad gag.

Ah, maybe I should actually try to make a point here. If there is even a point to be made. Remember way back in that first paragraph when I mentioned that some people now cite Sandler as someone they can hold up as the worst of mainstream cinema? Or, at the very least, he's often thrown into conversations now as a figure who can be held up to represent all that cinephiles hate.
I absolutely understand why Sandler isn't for everyone. He specialises in marketing dumb, and that usually ends up with films that are either smart and hilarious or just, funnily enough, dumb. When he fails then his films end up in the latter category. And many would say that he fails with every new addition to his filmography, certainly more often than he succeeds. But viewing him as the evil one who will herald the end of decent comedy movies as we know them is akin to calling Michael Bay the man who killed action cinema. Neither claim is true. Neither claim is remotely close to being true. And sometimes such hyperbole will spur me to write something. Even if I could have used this time to enjoy a rewatch of Hotel Transylvania.

One last thing. I tend not to let personal morals affect my movie viewing choices. That allows me to watch Polanski movies, Chaplin flicks, and many more films that would otherwise be off the table if I only watched films by, or involving, people who were all upstanding members of their communities. I would just add, however, as the final exhibit in this rambling, unnecessary, even unwanted, defence of Sandler that I have never heard or seen anything about his offscreen personality that makes him seem like anything other than a down to earth, sweet, caring guy who loves his family, loves his friends, and loves being allowed to be silly for a career.

Which is where I can end this post, as I am sure anyone who read this far will be grateful to see.

Oh, and I'll always love this

Horrible Bosses 2 (2014)

The biggest thing going against enjoyable comedy sequel Horrible Bosses 2 is that it, inevitably, pales in comparison to the first movie. But the biggest thing going for it is just how close it comes to providing as many laughs and great lines for anyone, like myself, who really liked the first movie.

All of the main players return for this meander through familiar territory. Jason Bateman, Jason Sudeikis and Charlie Day are now about to go into business for themselves, hoping to make a success of their Shower Buddy invention. They're made an offer by Rex Hanson (Chris Pine), which they refuse. They're immediately made a more attractive offer by Rex's father, Bert (Christoph Waltz), and they seize that one with both hands. But things aren't quite what they seem, which sees our incompetent trio attempting to turn to crime once again, this time with a spot of kidnapping on the agenda instead of murder.

Director Sean Anders, who also helped to write the screenplay with John Morris, has done a surprisingly decent job here of avoiding the usual pitfalls of comedy sequels. Yes, it replicates the beats of the first movie, but it does so in a way that never feels as if it's trying to desperately outdo what came before. Perhaps downgrading the main crime from murder to kidnapping dictated the planned perimeter of the gags, or perhaps everyone involved was just so busy having a good time on set that they had faith in the humour being infection, instead of planning the film around a few set-pieces.

Arguing over walkie-talkies about potential codenames, Bateman distracting a group of people by talking about pretend sex addiction, Jonathan Banks being a tenacious cop, a wonderful moment bringing people together with the power of Predator - these are just a few of the highlights.

As well as the lead trio, Kevin Spacey also returns to raise a few laughs as the "original" horrible boss Dave Harken, Jennifer Aniston brings more filthy chuckles as sex-pest dentist Julia Harris, and Jamie Foxx has more fun as "Motherfucker" Jones. They all come back on top form, and are given a few great scenes each. On the other hand, Waltz is sadly wasted in his role. He does well enough, but is only really a motivating factor for the plot and nothing more. Pine, who gets much more screentime, makes up for that slight disappointment with his performance, which is hilarious at times. The biggest laughs, however, come once more from Day. Bateman and Sudeikis get their share of funny lines, although once again Bateman is stuck trying to be the voice of reason at times, but it's Day who seems to always make the most of every line/reaction to events.

Let's not mince words here. This is glossy, mainstream stuff. It's aiming to be a crowd-pleaser. That's an aim that I think it succeeds in achieving. There aren't many BIG laughs, although many of the gags had me laughing out loud every few minutes, and anyone who doesn't like it can write it off as yet another lazy sequel. Yet I think fans of the first movie will easily find plenty to enjoy here. It's a no-brainer, which I realise is another criticism that anyone disliking this movie can level at it.

7/10

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Office Space (1999)

Written and directed by Mike Judge, Office Space resonates with a hell of a lot of people just as much now as it did when it was first released. The fact that the film wasn't given much, if any, support and advertising when it was released perhaps explains why those who love the film are so loyal to it. It's a cult hit but it's a cult hit with a lot of appeal to anyone who has been stuck in an office job at some point in their lives. It's a movie that you can watch nowadays and share with others, an experience full of familiarity and wish-fulfilment that makes for perfect viewing when you need cheering up after a bad day at work.

Ron Livingston plays the central character, Peter Gibbons, one of the hundreds of thousands of people who seem to spend their working days trying to hold on to whatever is left of their sanity from the moment they wake up to the moment they leave the office. He stares at the cubicle walls around him and spends a lot of his day just zoning out. That all changes, however, when he takes part in a unique hypnotherapy session that leaves him completely calm and not caring one bit about his job. This could get him fired, of course, but actually ends up making him look better to the two consultants who are checking out the company and "streamlining" some departments.

It's a bit rough around the edges, and not quite as sharp as it could be, but Office Space well and truly deserves the reputation that it has amongst people who have been praising it for years. The central characters are all superb but the biggest laughs come from the supporting cast of downtrodden workers (especially Milton, played by Stephen Root - a pretty perfect physical interpretation of the animated character*).

Ron Livingston is ably supported by David Herman and Ajay Naidu, both portraying fellow sufferers, and there's yet another wonderful turn from the always wonderful Richard Riehle. Gary Cole is hilarious as the office boss while John C. McGinley and Paul Wilson prompt more laughs as the two consultants impressed by Peter's attitude. Then there's Jennifer Aniston, giving a bright and breezy performance as Joanna, a woman stuck in a different kind of workday hell at an eatery named Chotchkie's.

It's a shame that a subplot about the workers trying to make themselves a small, dishonest profit feels shoehorned in and not that well thought out but there are enough brilliant scenes (many of them involving a frustrating printer) to raise the movie well above average and make the whole thing worth repeated viewings.

*For those who don't know, Mike Judge made the film based on his own animated works, "Milton", that proved to be very popular on Saturday Night Live.

8/10

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