Review: "Hotel Transylvania 3: Summer Vacation"

An interesting idea that turned into a rehashed sequel that now is a bona fide animation franchise desperately in need of a stake through its cold, black heart, “Hotel Transylvania” is the undead visitor that arrives every third year for an unwanted visit, thrilling your kids but leaving you groaning.

Or, slumbering: I fell asleep during the screening. Several times. Not for long, I think, but propriety requires that I disclose this is a review of only about 96% of the movie.

You know the setup: Dracula (voice of Adam Sandler) has traded in blood-sucking for running a posh hotel for monsters, who have come out of the darkness to live (mostly) in harmony with humans. To wit: his daughter Mavis (Selena Gomez) has married goofy human Jonathan (Andy Samberg) and produced a half-vampire grandson, Dennis (Asher Blinkoff).

Tagging along are buds Frankenstein (Kevin James), Wayne the werewolf (Steve Buscemi), Murray the mummy (Keegan-Michael Key), and Griffin the invisible man (David Spade).

Things are pretty hectic running a hotel and watching over a passel of monsters, who come in sorts of shapes, colors and sizes. So Mavis decides the family needs a vacation aboard the Legacy, an ocean liner catering to their kind. Stops include an underwater volcano and Atlantis, which has risen from the sea in the form of a tawdry waterlogged version of Las Vegas.

Dracula soon finds himself directing his killer gaze at Ericka (Kathryn Hahn), the human captain of the ship. He’s been a widower for more than a century, but is surprised to find he can still “zing” -- the monster term for falling instantly in love.

But Ericka has some not-nice hidden motives, which are demonstrated by suddenly scowling while her face is underlit with red light that appears from nowhere to let you know she’s thinking evil thoughts.

Mel Brooks plays Drac’s dad Vlad, an old-schooler who eventually came around on not biting people. He gets some of the film’s best laughs strutting around in a tiny bathing suit, proudly flaunting his 500-year-old body. The gaggle of witches are appreciative, though.

The heavy is Van Helsing, Dracula’s old nemesis who is still kept alive through a steampunk contraption that animates his head and hands, along with a few struggling organs in jars. He’s voiced by Jim Gaffigan, doing his best impression of Bill Hader.

There’s a lot of colors, and boingy action, and spontaneous dancing. They even revive a couple of tunes from the last movie; I guess the filmmakers didn’t want to shell out for another songwriter. There’s even a DJ contest late in the game where they dust off “Macarena” as the epitome of all that is good and positive. Well.

Kids will probably enjoy “Transylvania 3,” but for anyone over the age of 10 it’s a sack of garlic, a beam of sunshine and a wooden cross all rolled into one.

Review: "Hotel Transylvania 2"

The first "Hotel Transylvania" was an uninspired amalgam of other movies, stitching together the current cinematic fascination with vampires, zombies and the like with angsty teen imperatives. The sequel is a distinct improvement, though curiously almost none of it takes place in the titular hotel.

The last go-round was about Dracula (Adam Sandler, sounding like a Borscht Belt Bela Lugosi) learning to find tolerance for humans when his teen daughter -- well, hundred-and-teens, anyway -- Mavis (Selena Gomez) fell in love with goofy human Jonathan (Andy Samberg).

Flash forward a few years. Mavis and Jonathan are now happily wed and have an adorable tyke, Dennis (Asher Blinkoff). Drac is thoroughly delighted with his grandson ... though he's a little worried that he has yet to indicate any vampire-ish abilities. He seems to be a carbon copy of Jonathan: big poof of red hair, pasty skin, normal, non-sharp incisors, etc.

"He's just a late fanger," Dracula dismisses, though he's secretly worried the kid is really all human. And how disappointing would that be!

Mavis is considering moving their family to Santa Cruz to raise him alongside Jonathan's parents (chirpy Molly Shannon and droll Nick Offerman) and other regular humans. Drac can't stand the idea of being apart from them, so while they're away scouting out the potential new hometown, he and his crew whip up a plan for a road trip to encourage Dennis' monsterish side to come out.

Hijinks ensue, of the lightly scary/slightly vulgar variety.

The gang of supporting characters are back, including Steve Buscemi as a werewolf hectored by his wolf-wife and small army of pups; Frankenstein (Kevin James), big and blandly nice; a fabulous mummy (Keegan-Michael Key); and an invisible man (David Spade), who keeps trying to convince his buddies he has an invisible girlfriend.

The new guy on the block is Dracula's daddy, Vlad, wonderfully voiced by Mel Brooks. He's an old-school type who keeps the fires of hate toward humans well-stoked, and he's got a crew of giant vampire bat henchman to do his bidding. Drac takes steps to ensure Vlad doesn't find out his great-grandkid isn't a bloodsucker.

Directed by Genndy Tartakovsky with a screenplay by Sandler and buddy Robert Smigel, "Hotel Transylvania 2" won't win any contests for originality. It's television-quality storytelling with better animation and voice cast.

But it's breezy, fun and dopey, and sure to keep your little monsters entertained for an hour and a half.

Video review: "I Am Chris Farley"

If you looked at the average lifespan of “Saturday Night Live” alumni compared to the general population, you'd find it’s shockingly low. So many talented comedic fireballs have gone to early graves -- some to disease (Gilda Radner) or violence (Phil Hartman), but far too many to excessive lifestyles and a lack of self-control.

Anyone watching the show in the 1990s initially viewed Chris Farley as the reincarnation of John Belushi: a maniacal tubby guy with a natural grace for physical comedy that belied his girth. “I Am Chris Farley” is the new documentary about his life, where he came from, why he was so popular on the show -- and why he was incapable of doing anything halfway.

Directors Brent Hodge and Derik Murray interview an impressive list of people who knew or worked with Farley, tracing his rise from class cut-up in a bucolic Wisconsin town to king of the Second City comedy troupe in Chicago up through the seemingly ordained call-up to SNL. We learn that he was a man who would literally do anything for a laugh, even being suspended from his Catholic school for exposing himself during typing class.

People like Adam Sandler, Dan Aykroyd, David Spade, Bob Saget, Mike Myers, Christina Applegate, SNL chief Lorne Michaels and many others weigh in with memories, regrets and praise. Farley’s brothers and childhood friends speak of a soul so innocent and pure that there was simply no nastiness in him. His inability to cope with alcohol and drugs was, they say, simply an extension of a man whose appetite for joy was unquenchable.

Myself, I was never a particular fan of Farley’s. He seemed to operate under the principle of “comedy by volume” -- that is, any line of dialogue becomes funny if you shout it loudly and repeatedly. The half-life he could wring out of material was regrettably brief; no doubt the reason his two films in a starring role both bombed as audiences couldn’t summon the endurance for 90 minutes of Farley’s pratfalls and mugging.

His act got old fast, and so did Farley. His death at age 33 of an overdose, compounded by his obesity, came as a shock to exactly no one, his friends say.

Still, if Farley’s brand of merriment wasn’t my bag, I appreciated the devotion he put into his craft. As this doc underlines, no one put more effort into looking like a screw-up.

It’s an insightful, affecting portrait of a misunderstood comedy giant who left us too soon.

As a straight-to-video release that’s also being shown on the Spike TV channel, there are no bonus materials.

Movie:

Extras:

Review: "Pixels"

"Pixels" is the dream revenge movie for pretty much every kid who came of age post-1980: the world needs a hero, and it can only be someone who wasted countless hours and a Smaug-sized pile of quarters playing primitive arcade games at the Electric Dreams Factory (or whatever it was called in your town).

Isn't this the ultimate geek fantasy? To have the skills that were laughed at as a kid suddenly become valued in society the same way throwing deceased porcine hide is?

Since this is a geek movie, we've got to have some geeks to cheer for. Enter Adam Sandler, Josh Gad, Kevin James and Peter Dinklage. All were video game superstars circa 1982, culminating in a championship marathon in which one emerged as the victor, his exploits recorded on video for posterity and sent into space.

Unfortunately, alien boogums found the video and mistook the old-school games -- Pac-Man, Defender, Centipede, Joust, Frogger, Q-bert, etc. -- as a challenge. They whipped up some versions of these digital "warriors" and sent them to Earth to do battle with humans.

They even look like the old 8-bit versions of the arcade characters, crude and seemingly pixilated when blown up to giant size. Though not as big as you might think: the poster shows a behemoth Pac-Man slurping up San Francisco in one gulp, but in the movie he's about the size of a smallish RV.

It's a goofy premise, courtesy of screenwriters Tim Herlihy and Timothy Dowling, based on a short film by Patrick Jean. It's kind of a rip-off of "Ghostbusters," with brainy losers vaulted into champions, but the notion still holds appeal.

Directed by hitmeister Chris Columbus, "Pixels" is breezy, dimwitted, action-filled and goofy. I certainly was never bored, though some of the gags and story threads were better left snipped on the editing room floor.

For instance, we're supposed to believe that James' character, Cooper, has grown up to be the President of the United States. Except he's not some competent, savvy politician, but the standard doofus Kevin James character he plays in every movie. Not surprisingly, his POTUS has become a laughingstock.

It's hard to believe anybody would ever vote such a guy into the highest office in the land... though I should note as I write this, Donald Trump is leading in the polls.

Brenner (a bored-looking Sandler) had the most natural talent of any gamer, but his confidence was shot when he lost the championship. Now he's become a Geek Squad-like drone who sets up tech for other people. Getting tapped by his best buddy in the White House to lead the fight against the invaders starts his underachiever-cum-savior journey.

Gad plays Ludlow, a wallflower who grew up to be a conspiracy theorist. He gets some of the best lines in the picture, and the "Book of Mormon" star also gets to belt out a tune for no good reason, other than it's nice to listen to.

Michelle Monaghan shows up, because the studio honchos felt we needed a pretty girl to look at. She's a military officer who takes an instant shine/dislike/maybe love? attitude toward the Sandler character.

Dinklage steals most of his scenes as Eddie, aka "Fire Blaster," an egocentric gamer who won the '82 championship (and also gave himself that nickname). Sporting a ferocious mullet and Southern-fried patter of quips about how awesome he is, Eddie is a despicable hoot. Actually, with the hair and self-puffery he reminds me of Donald Trump, though reportedly Dinklage based him on a real-life jerk seen in the excellent video game documentary, "The King of Kong."

Arriving as the summer movie season is cooling down, "Pixels" is clearly third-string fare, the sort of thing you go see while waiting for the movies that came out in May to hit video. It's decently entertaining, though it needed less Sandler and more mullet for the win.

Video review: "Men, Women & Children"

Jason Reitman’s “Men, Women & Children” is a noble effort but not a successful film. It’s worth a look on video, because there are a few moments of quiet power in its ensemble cast and intersecting storylines. Other sections, though, wander.

The topic is sex, specifically how modern technology and digital interfaces reverberate in how we relate to each other romantically. The drama serves as a cautionary tale about letting contrived expectations interfere with the actual flesh-and-blood human beings we’re affectionate with.

The focus is mostly on teenagers, though adults figure into the mix, too. Kaitlyn Dever and Ansel Elgort play decent but confused kids who embark on a tender romance. Meanwhile, though, her mother (Jennifer Garner) is tracking her every movement and text message, terrified of what’s roaming out there in the digital ether.

Other stories include a mom (Judy Greer) who is distributing risqué photos of her own daughter on the web to paying customers, and a middle-aged couple (Adam Sandler and Rosemarie DeWitt) who are bored with each other but find excitement in random hook-ups with strangers they meet online.

Even more unsettling is the tale of a young girl who struggles with her body and her virginity, both of which she views as a burden rather than things to be celebrated. So she punishes herself by starving herself, and receives encouragement (!) from like-minded young women online.

There’s a lot to admire about this film, as it dares to ask uncomfortable questions about how we live and love today. The movie ultimately loses its way, but the journey is worthwhile.

Movie:

Review: "Men, Women & Children"

"Men, Women & Children" is an audacious, ambitious film that dives into the deep end of cinematic contemplation and, eventually, disappears beneath the ripples it commenced. But not before a heroic effort.

It's not so much a coherent story as a mirror turned around at the audience, daring them to consider how we live today, how the digital age has bent and distorted the way we approach love and sex -- especially teenagers, who have never lived in a world without instant communication and universal access to visual gratification.

This is one of the rare movies I wish was longer; its sprawling narrative and heady themes needed more space to give themselves a full workout. Director and co-writer Jason Reitman ("Up in the Air") ends up drowning in the same trouble that afflicts most films with large ensemble casts and intersecting storylines: it moves on too quickly when it should linger, and tarries when it has outlasted its purpose.

If the notion of underage kids communicating graphically about what they'd like to do to each other is shocking to you, then you might sympathize with Patricia, played by Jennifer Garner. She monitors every step her daughter Brandy (Kaitlyn Dever) takes online -- she reads the girl's text messages before she sees them, deleting if she finds them objectionable. Using tracking software on Brandy's phone, mom knows her daughter's whereabouts 24/7. Indeed, Patricia, with her pained expression and wounded eyes, doesn't seem to have a job or a personal life, only a cause: to keep kids safe online -- even if it means stripping them of any semblance of freedom.

Needless to say, Brandy is driven to seek release, and finds it with Tim (Ansel Elgort), another wayward soul. He's the star running back of the football team, but quits mid-season so he can have more time to play Guild Wars, an online role-playing video game. He's bereft by a personal loss, and in Brandy sees a companion with whom to drift. They plug the rents in each other's fragile psyches, forming a relationship that is -- by the standards of other couplings in the film -- remarkably healthy and not dictated by sex.

On the other extreme is Hannah (Olivia Crocicchia), a 16-year-old who flaunts her sexuality instinctively, aided by a mother (Judy Greer) who enables her Hollywood ambitions. They take risqué, but not obscene, photos of her and post them on a website -- including private shoots for paying customers. What's scarier than the idea of a mother basically pimping out her daughter is that neither seems to fully grasp the impact of what they're doing.

Most affecting is the story of Allison (Elena Kampouris), a painfully thin girl wracked by twin, intermarried crucibles: anorexia and being the last female (she thinks) in her social circle who hasn't "hooked up." She visits websites where beauty-obsessed girls provide emotional support to willingly starve themselves -- Google it; they're real -- and fantasizes about the football player she's known since seventh grade. Her body is an unruly burden to her, both her corporeal heft (any) and her wretched virginity.

The stories of some of these kids' parents also float in and out of the foreground. Most notable, though not as interesting as it sounds, is Adam Sandler and Rosemarie DeWitt as a married couple whose sex life has turned cold, and they each use the Web to fulfill their needs with strangers.

It's an interesting idea, especially in that it's she craving sexual adventure while he mostly pines for simple intimacy, but their path seems more pathetic than dangerous. Meanwhile, their 15-year-old son has grown impotent after being burned out on hardcore porn.

"Men, Women & Children" gives us an almost entirely bleak view of lust in the 21st century, but that's not its problem. By focusing on too many characters and tales, the film's dark, brave message loses signal strength. There either needed to be a lot more of this movie, or a lot less.

Video review: "Hotel Transylvania"

Even in an extraordinarily weak year for animation, “Hotel Transylvania” did not receive an Academy Award nomination for best animated feature. And it’s no surprise: this derivative monster tale featuring Adam Sandler is a Frankenstein-like assemblage of bits ‘n’ pieces from other movies.

Actually, Frankenstein himself is here (voiced by Kevin James), along with Dracula (Sandler), the Wolfman (Steve Buscemi), the Mummy (CeeLo Green) and a rogues’ gallery of every other creature feature from the past 80 years. The set-up is that they’ve all come to the hotel for their once-a-year celebratory bash, centered around the birthday of Dracula’s daughter, Mavis (Selena Gomez).

Mavis is in her rebellious teenage phase -- it happens around age 118 for vampires -- and wants to venture forth and see the world. But Drac and the rest of the gruesome crew say it’s too dangerous, what with all the humans out there with their torches, pitchforks and paranoia. Then the red-blooded problem arrives on their doorstep in the form of Jonathan (Andy Samberg), a dim-witted backpacker dude. Dracula dresses him up as a Frankenstein cousin, and door-slamming farce ensues.

The animation is truly wonderful, a cartoony (non-scary) take on the nightmarish creatures of legend. I loved how the Wolfman wears a short-sleeved shirt and tie like a middle manager on holiday, and Frankenstein has a tendency to lose his stitching and fall to pieces.

But the story plays out with all the predictability of a werewolf needing a haircut on a full moon. Jonathan and Mavis start making gooey eyes at each other, dear dead dad isn’t very happy about it, and the scary humans turn out to be not so scary after all.

The animators did their job creating a visually vibrant world, but the script has all the life of a vampire with a stake through its heart.

Video extras are decent without being extravagant. The DVD comes with deleted scenes, feature-length commentary, music video and a short film, “Goodnight Mr. Foot.”

Upgrade to the Blu-ray version, and you get three making-of documentaries covering the voice cast and animation process.

Movie: 2 stars out of four
Extras: 3 stars

Review: "Hotel Transylvania"

Monsters as heroes is a pretty popular theme in pop culture. Vampires are more likely to be dreamy lovers than smelly undead bloodsuckers these days. And long before "Twilight" and its ilk, Tim Burton made the ghoulish seem normal with "The Nightmare Before Christmas."

Heck, "Sesame Street" took the word "monsters" and stood it on its head more than 40 years ago but using it to refer to cute fuzzy Muppets.

Maybe that's why "Hotel Transylvania" doesn't feel terribly original. The entire premise is based on the idea that werewolves, mummies, vampires, alien blobs and zombies are outcasts hiding out from the fearsome clutches of humans who want to destroy them. The eponymous inn is the place where they get to come once a year to hang out and party in safety.

Of course, if things are so bad out there, it begs the question of why they don't all just live in the hotel year round. But applying logic to a movie like this is like Dracula deciding he needs a tan.

Speaking of Dracula, he's voiced by Adam Sandler doing a sort of Borscht Belt version of the familiar Bela Lugosi accent. Here he's a single dad trying to run a business where the help consists of mindless zombie bellboys and haunted suits of armor. Meanwhile, he's raising a rebellious teen daughter -- as in 118 years old -- named Mavis (Selena Gomez).

She wants to go out into the world to see what there is to see, but Drac takes steps to convince her to stick around. After all, the big annual event on the monster calendar is her birthday, and he's invited all his friends and regular guests to celebrate.

The animators did a great job with the various creatures, giving them a cool cartoony look with exaggerated features. The target audience here is kids who count their age in single digits, so nothing's terribly scary. (The PG rating is mostly for a few moments involving gastrointestinal humor.)

If anything, director Genndy Tartakovsky, a TV veteran making his feature film debut, doesn't linger long enough on the monsters so we can appreciate all the little details. This movie often feels like it's being spurred on by hurry-up pacing.

I did like the way Frankenstein (Kevin James) is held together with flimsy stitches that are apt to give way, leaving him a collection of parts. Or the werewolf is named Wayne (Steve Buscemi) and resembles a hectored businessman with a pushy wife and rambunctious passel of pups.

Other notable cast members are a mummy (CeeLo Green) and Invisible Man (David Spade), who's rendered as a disembodied pair of glasses.

The fly in the ointment is Jonathan, an adventure-seeking young human (Andy Samberg) who stumbles upon the hotel while backpacking across Europe. Dracula makes him up to resemble a distant cousin of Frankenstein and introduces him as the party planner for Mavis, who soon is casting goo-goo eyes at him.

The whole thing devolves into a slamming-doors farce, with people chasing each other, stumbling into awkward situations, doing double-takes and spinning webs of lies that are soon found out.

Jonathan is about as endearing as Samberg's live-action losers, hyperfast-talking slackers who register somewhere between mentally challenged and just plain dim. I kept thinking what the movie would've been like without him. Better, certainly.

With its emphasis on boingy action and goofy comedy, "Hotel Transylvania" is meant to do little more than distract wee tykes for a little while, and for that demographic it might do the job. The adults accompanying them will just wonder how soon they can check out.

2 stars out of four

Review: "Grown Ups"

"Grown Ups," the new Adam Sandler comedy, is about what you'd expect. A quintet of childhood buds reunite 30 years later to recapture a bit of their glory days, in between hassling with their wives and kids and razzing each other mercilessly.

There's potty humor, there's sexual put-downs galore, there's inappropriate ogling of each other's daughters and/or wives. The humor is crude and broad, the hearty laughs few and far between.

In other words, it's another thingamajig stamped out by the Sandler assembly line.

You'll note I call it an Adam Sandler movie, despite the presence of co-stars Kevin James, Chris Rock, David Spade and Rob Schneider -- all "Saturday Night Live" alums like Sandler, except James, who had his own lowbrow TV show. Sandler wrote the screenplay (with Fred Wolf) and brought along his pet director, Dennis Dugan.

It's not very funny, but as the mob tough in "The Untouchables" said about their illicit booze, it's not supposed to be good, it's supposed to be bought. Sandler has a built-in audience that will show up for anything he does. Occasionally, something decent ("50 First Dates") slips past the machine.

Sandler plays Lenny, the leader of the 1978 summer basketball champs who've gone their separate ways. When their old coach dies, it brings them back for his funeral and a weekend at the old lake house.

Lenny's a Hollywood super-agent, married to Roxanne (Salma Hayek Pinault), a famous fashion designer. Their two sons are borderline brats addicted to their Playstation and ordering the nanny around.

The rest of the crew: Eric (James) is the funny fat guy, married and with a couple of kids of his own. Rock plays Kurt, a house-husband who receives a daily tag-team henpecking from his wife (Maya Rudolph) and her mother. Marcus (Spade) is the boozy swingin' single dude. And Rob (Schneider) has gotten all New Age-y and uptight.

They're stale, unimaginative parts, but let's face it: Spade, Schneider and Rock's film careers have gone ice cold lately. It's almost sad how they always run home for supporting roles in Sandler's lame flicks.

(If that's not bad enough, fellow SNLers Colin Quinn and Tim Meadow are trotted out for walk-ons in the obligatory rematch of the big game. Meadows' part is so small, I actually felt sorry for him.)

I found a handful of chuckles here and there. I liked Maya Rudolph, very pregnant, doing a little booty-and-belly dance and chanting, "Baby got front!" And there's some doofy slapstick scattered about.

But mostly the jokes are one-note, or quickly grow tiresome with repetition. Some examples:

Rob's wife (Joyce Van Patten) is much older than him, and their constant sexual fervor for each other grosses out the rest of the gang. It's funny because she's old!

Eric tries to water ski, but the boat can't budge his heft. It's funny because he's fat!

Rob's giving his (old!) wife a heated-rock massage, and burns his hands on one that stayed in the steamer too long. Then he drops it on her back and she screams. It's funny because it's hot!

Eric's improbably gorgeous wife (Maria Bello, slumming) still breast-feeds their son, even though he's four years old. It's funny because it's boobies!

I could go on, but let's save each other the trouble. We both know "Growns Ups" is the very definition of a critic-proof movie. But I'll bet the $9 you're thinking about plunking down for this moronic flick that there's something better playing at the cinema.

Well, not "Jonah Hex." Yech. But something.

1.5 stars out of four

Review: "Funny People"

"Funny People" should come with a warning announcement: "And now folks, a serious moment with Adam Sandler and Judd Apatow."

Yes, this is the movie where the dudes behind "The Waterboy" and "Knocked Up" team up and get all weepie.

Sandler plays a thinly-disguised version of himself, a massively successful star of mainstream comedy films, who has been diagnosed with a life-threatening illness. He hires a young wannabe comedian, played by Seth Rogen, to be his assistant/friend, and sets about to learn him some life lessons.

This formula actually works for awhile, as the big star and the young schlub bond. George Simmons (Sandler) teaches Ira how to hold his own doing stand-up, and Ira helps George see that there's more to life than his opulent mansion and anonymous hook-ups with female admirers.

There's also some pleasant byplay with Ira's roommates, who are both much more successful than him. Jonah Hill plays another comedian, and Jason Schwartzman has become the star of a horrible television comedy called "Yo, Teach!" Oh, and there's a girl comedian (Aubrey Plaza) for whom Ira is laying out a three-month seduction plan, but the Schwartzman character gives him 10 days to make a move before he turns on the star charm.

So the movie is humming along quite nicely, with plenty of laugh-out-loud moments, a little bit of serious stuff with George's illness, and then Ira and George take a trip to Marin County to look up an old girlfriend of George's, and the movie flushes itself right down the toilet.

The visit to see the girlfriend just goes on, and on, and on, until you realize it's taken up almost an hour of the film's ungodly 145-minute run time. The old saw about Judd Apatow movies is that they go on 20 minutes too long, but "Funny People" qualifies for a multiplier.

I hate to say this, but I think this section is only in the movie because the old girlfriend is played by Leslie Mann, who is Apatow's wife in real life. And although she's a talented performer, the whole concept of the girlfriend trip just kills the movie. She's married (to an Aussie played by Eric Bana) and has two daughters, and because of George's illness she convinces herself they're still in love.

This happens right after George learns that his disease has gone into remission. I'm not giving anything away here; this twist is in the trailer. I just find it ironic that it's only after George learns that he's going to live that "Funny People" becomes a death march.

The one truly interesting thing about this movie is that it seems to be making fun of Adam Sandler, or at least his movies. There are numerous clips from made-up flicks like "Merman," in which he's a half-fish, and "Re-do," where he has the body of a baby but his regular head. It's made clear that no one actually thinks these are funny, and yet they are essentially barely-disguised take-offs of Sandler's actual movies.

Since Sandler and Apatow were roommates when they were first breaking in, it raises the question of what the former roomies really think of each other's work. Based on "Funny People," they should have ditched the reunion.

2 stars