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The gay issue premise of this dismal failure is only slightly better than its offensive execution. If this movie had been made twenty-five years ago, it could have had an Archie Bunker kind of appeal, but in the more accepting 21st century world (and in live and let live NYC of all places), the characters' initial attitudes are jaw-droppingly offensive. The inappropriate humor is not limited to alternative lifestyles either, as it flirts with racism and cruel weight jokes. All of this might have been easier to handle if the jokes were funny, but most are not. All that is left is a story that is disturbing in so many ways, I will not be able to tell them all to you.

Sandler is super-stud fireman, Chuck Levine (pretty hard to buy, but what the hell, it's a comedy) whose life is saved by his fellow fire-eater and best friend, Larry Valentine (Kevin James). Larry has lost his wife and somehow his option to change the beneficiaries of his pension to his kids has elapsed (ridiculous, I know, but it's a comedy premise, what can you do). To solve this, Larry has to re-marry, but he is nowhere close to ready, so he proposes (literally) that he and Chuck pose as a same sex couple to assure his kids are taken care of. The city, apparently fooling with class action human rights' lawsuits is cracking down on fraud among purported same sex unions and sends out Clinton Fitzer (Steve Buscemi in a funny role) to investigate. Meanwhile, Chuck and Larry, frightened by potential jail terms, get a lawyer, played by the lovely Jessica Biel. Chuck falls for her, and the two become friends, but he can't let on that he is actually straight. The only thing that could make this part of the story worse be if Chuck somehow got a date with two women at once, as well (the old sit com stand-by plot). Or I guess they could have a zany KKK member around too. That would be worse. From the protesters at a gay gathering, to the city persecution of a lifestyle, and the 1950s reaction of their co-workers, this story is disturbingly distasteful and everyone's act three conversion is just not enough.

As you may have guessed, I didn't like this movie and it got more grimaces than giggles out of me. It is as offensive as films from past generations, but those we can dismiss with a 'well, it was a different time, wasn't it?' excuse. I can't see this being enjoyed by anyone besides homophobic idiots and adolescent boys goggling Jessica Biel (true, she looks fantastic. I kinda liked that part, too). Adam Sandler always seems to dance on the line of appropriate humor and I often enjoy his efforts even when they are not politically correct, but this time out he has stumbled completely over that line and he is unlikely to generate enough smiles from most viewers to make it OK. As for Kevin James, if he wants to make the jump from the small screen to something larger with individual seats and public restrooms, he is going to have to choose better projects than this.

(This work was first posted on realmoviereview.com)

In a tepid summer of tired sequels and action orgies this film is a breath of fresh air. I am not usually a big fan of musicals, but this one won me over! The young cast seems to be bursting with joy and the experienced performers are clearly having a ball, as well. The songs are exuberant and the story, well-known to many because of its long run as a stage show (based on a 80's flick and starring Ricki Lake at one point), is very good for a musical and even addresses the civil rights' issues of the 60s.

Teenage newcomer, Nikki Blonsky, won the celebrity lottery and landed the lead role of Tracy Turnblad, a Baltimore high school student who is obsessed with becoming one of the dancers on the local Corny Collins Show and stealing the heart of the lead dancer, Link Larkin (Zac Efron). Tracy's mother, Edna Turnblad, played frighteningly well in drag by John Travolta, is worried that Tracy will get hurt. This role has traditionally been played in drag going back to the 1988 feature with the famous transvestite, Divine. Christopher Walken is great as Tracy's dad, who supports her dream. Look for a funny cameo by original writer, John Waters as a neighborhood flasher. Michelle Pfeifer and Brittany Snow star as the nasty mother/daughter team of Velma and Amber Von Tussle who are determined to prevent any changes to lily white, homogeneous look of the show. Queen Latifah and Elijah Kelley's characters of Motormouth Maybelle and Seaweed, performers on the show's 'Negro Day' march to fight for the rights of all, when even that tiny representation on the air is threatened. Tracy disregards the risk and marches with them.

Well, I don't want to start gushing, but this is the most appealing and energetic musical since Grease and if you liked that wonderful fifties romp, then this should be a can't-miss movie for you. The performances and charming cast combine with a strong story, along with catchy tunes and nifty dance numbers, to create a winner that will be remembered long after the summer and all of its mediocre films have been forgotten.

(This work was first posted on realmoviereview.com)

The Last Mimzy is a slow moving, overly complex attempt at an E.T. style family drama that somehow ended up with a PG rating. The acting is fine, with the two young leads doing a good job, but the story unfolds slowly and never manages to generate enough tension or humor (there is really no humor that I recall) to hold the viewer's attention as it does so. There is nothing to draw this effort out of the crowd of films striving for the family film buck Noah and Emma Wilder are a young brother and sister (Neil and Wryn) who find a mysterious box during a family beach outing. Items in the box soon show themselves to have (and give) abilities to the youngsters, as their parents (Richardson and Hutton) gradually grow concerned. They are not alone in taking note of these changes. Noah's science teacher, (Wilson) along with his Tibetan Buddhist fiancée (Hahn) get involved, as well as government forces led by Nathaniel Broadman (Clarke). As you may have guessed, having this many characters any real character development and focusing on fewer characters with better dialog would have improved this film.

If you took Phenomenon and crossed it with E.T., that would give you some idea what to expect here, but without a tighter script it is not worth renting unless one of your kids is holding the box and looking at you like the waterworks are about to start. This movie is so mediocre that I had to struggle to remember it long enough to write a review.

(This work was first posted on realmoviereview.com)