Showing posts with label Over/Under. Show all posts
Showing posts with label Over/Under. Show all posts

Over/Under of the Week: Adam Sandler

Tuesday, December 1, 2009 | | | 0 comments |


So, for the column today, I decided to go in a different direction, rather than give you either something overrated or something underrated, I decided to pick a topic, and then give you both an under and overrated item from that topic.

Today, that topic will be the much maligned Adam Sandler.

Sandler has never been on the same page as film critics. Critics tend to see film as an expression of art and technical talent, Sandler has always seen film as pure entertainment. It's obvious that Sandler enjoys his movies, after all, who wouldn't. He brings in some of the best actors in the business for his films, goofs around and has fun, and then makes tons of money. Sandler will doubtfully ever win an Oscar or gain critical recognition on a large scale, but its good to remember sometimes that film is more than just stuck up critics who don't even have a good time at movies. With that said, oftentimes Sandler can leaving you feel a little burned out from all the yelling. So with a nod to both parties lets look at the under and overrated gems from Sandler's past.


OVERRATED:
You Don't Mess with the Zohan





Sandler has seemingly always had 3 gears. His most comfortable gear is the over the top stupidity and guy humor. He's loud, obnoxious, learns his lesson, gets the girl, and has a bunch of laughs. A solid majority of his movies fall into this category, it's what gives him his brand and makes him money.

His second gear is still primarily the loud obnoxious humor, but this time is isn't a blabbering idiot, and he actually is trying to make a "touching" point. These include: Click, 50 First Dates, Bedtime Stories, The Wedding Singer, Big Daddy, and you could argue Mr. Deeds. Sandler seemed to make a natural progression to this style as he matured, and now more and more of his movies start falling into this section.

Finally, there is the Adam Sandler who must just like to mess around with critics, beccause he pulls out a dramatic, somber performance, and often gets rather favorable reviews. Funny People, Reign Over Me, Spanglish, and Punch Drunk Love, that's the entire list. The latter even garnered Sandler a Golden Globe nomination, and widespread critical praise. Sandler has shown off this side of himself more and more, though we never can be sure when this Sandler will decide to show up.

Unfortunately, even as it seemed Sandler might have been finding a happy medium in his life, he decided to release "Zohan" and show us just how crude he could still be. However, this time, his crude humor wasn't as funny as his classics like "Happy Gilmore" and "Billy Madison", and instead of just being adolescently crude, he amped up the sexual content and innuendo, and the result was a rather unfunny movie which featured all too many cringe worthy sex references.

Shockingly, some people ate it up. Ebert called it one of his favorite Sandler movies ever and actually LIKED it, which, if you know Ebert and Sandler, you know thats virtually a sign of the apocalypse.

Now, I like Sandler, and I'm a fan of most of his movies. However, "Zohan" struck me as amateurish in a way that his younger movies never did, maybe I just came to expect more from Sandler over the years, but "Zohan" was a major bust in my book.


2 out of 10 Elliots

(In honor of my inaugural Mustache Column, I will be rating things on a scale of 1 to 10 Sam Elliots)




UNDERRATED:
Big Daddy





At the other end of the spectrum, is a Sandler movie that was released during the height of his Happy Gilmore/Wedding Singer popularity, and yet kind of missed the boat.

Big Daddy is one of the first Sandler movies to really push into the second phase of his film making. It still has his trademark insults and rebellious streak, but it forgoes the psychotic of Happy Gilmore, and the idiot of Billy Madison and The Waterboy. Unfortunately, because studios want to make money, "Big Daddy" was marketed as another Sandler stupid comedy. The posters and DVD case feature the stars peeing on a door, alienating people looking for a decent feel good story, and then surprising kids when it wasn't the same stupid old Sandler punching celebrities and shouting like a moron.

At its heart, Big Daddy is actually a pretty good story about a drowning loser who misses the past, and the little boy who saves him. It features a young Dylan Sprouse, who would later star in one of my favorite TV movies "I Saw Mommy Kissing Santa Clause" before becoming a Disney Channel star with "The Suite Life of Zac and Cody." Also featuring Joey Lauren Adams, fairly fresh off of "Chasing Amy", Leslie Mann, who he would again star with in "Funny People", and of course a slew of recurring Sandler friends, including the always funny Steve Buscemi, and actually, one of Rob Schneider's better Sandler cameos. Big Daddy is one of Sandler's best, and it holds up well over time. If you think you might want to give Sandler a chance after seeing some of his newer stuff, I advise you to check out Big Daddy, if you already are a Sandler fan, pull this off the shelf some night, it may not get the same pedigree as Happy Gilmore, but its Sandler at his best, funny, but subdued.

6 out of 10 Elliotts


Thats all for today folks, as always, have a great day and check back tomorrow.

-Latin

Over/Under: Fountains of Wayne

Tuesday, November 24, 2009 | | | 0 comments |
In this weekly column, we'll be discussing an element of pop culture that is either over- or underrated (hence the name, Over/Under. You know you're dealing with some real wordplay pros when you come across a clever title like that). Today's subject: the vastly underrated Fountains of Wayne.



I've never exactly understood why Fountains of Wayne aren't way more popular. Personally, I've been a huge fan since 2003, when they enjoyed their brief flirtation with real mainstream fame. Now I'm guessing that some (or many, or maybe even most) of you are currently thinking "Who/what are Fountains of Wayne?" Allow me to inject a personal anecdote which may clear things up: in mid-fall of 2003, I happened to fall asleep with the radio on one Saturday night when I went to bed, and when I woke up, the American Top 40 was on. As I lay in bed, still half-asleep, I could have sworn I heard a guy singing about being in love with somebody's mom. I sat up, listened more closely, and realized that I had heard correctly. The song's catchy guitar riff, which repeats throughout the song, is what had initially caught my sleep-hazed attention, but its novel premise is what really drew me in. I thought, "I have to find out what the name of this song is, who plays it, and I need to hear more by that band." As it turns out, it was none other than 'Stacy's Mom' by Fountains of Wayne. This is the part where people normally go "Ooooh yeah, I know that song. I never knew the name of the band that did it though." If you still don't know what I'm talking about, you must live under a very large rock and don't need to read any further. Sadly, Stacy's Mom ultimately granted Fountains of Wayne "one hit wonder" status and nothing more.

I'm sure most of you out there have already seen the video for Stacy's Mom, so I'll showcase another, lesser-known piece of FoW's work, the music video for the lead single 'Someone to Love' off their fourth studio album, Traffic and Weather. I can't embed the video, since its distributors apparently want to be particularly stingy, but I will supply you with the link here (see if you can't spot Demetri Martin):

'Someone to Love' Music Video

The big question I have is how can a band like Weezer become so popular, but FoW gets left out in the cold? Don't get me wrong, I'm a fan of Weezer, I'm just a bigger fan of FoW, and it seems like I'm one of the only ones in the world. The two bands share similar "power pop" styles (though I don't want to pigeon-hole FoW into the genre of pop rock, because they are actually capable of covering a wide variety of musical styles, showcased most prominently between 1999's Utopia Parkway and 2003's Welcome Interstate Managers), so the only thing I can think of is the difference in lyrical content. Weezer's body of work primarily pertains to social and relationship issues, whereas Fountains of Wayne have a large collection of vignettes about average, every day, middle class American life. This, of course, includes dealing with the ups and downs of romantic relationships, but among the myriad of other subjects are songs about being stuck in traffic, going to work at a dead-end job, high schoolers throwing a house-trashing party while their parents are away, alcoholic salesmen, football quarterbacks, irritating technological gadgets, and wishing to be home with loved ones after being away for too long. Some of this may sound mundane, but therein lies the brilliance: when you can write a song about a mundane experience, and make it a really good song to listen to, then you've got some talent. There doesn't always need to be layers of deep, complex, hidden meanings within a song's lyrics; sometimes it's good to have a fun piece of music that your average human being can relate to just because they're familiar with the subject matter. Take The Beatles, for example. They wrote a brilliant song about wanting to hold a girl's hand. That's all there was to it, and it's a great, classic song. Fountains of Wayne's catalog is full of pieces of good, solid, relatable music like that, but since most people never bother to check out their work beyond 'Stacy's Mom,' the public is generally unaware, and I think that's a shame.

If you enjoyed 'Someone to Love,' or if you're intrigued by anything I've said so far and want to hear more, then as an added bonus, I've already done some of your work for you. The band has a MySpace page for each of their most recent albums where you can listen to any song from that album in its entirety. I've linked the page for each album below, starting with my favorite album first, and listed the two best tracks from each one so you have an idea of where to start. For each album I've listed one upbeat song followed by a slow song, and I didn't include 'Stacy's Mom' or 'Someone to Love' on these lists since by this point you've likely already heard both of those.

Welcome Interstate Managers (2003)
Mexican Wine
Fire Island

Out-of-State Plates (2005)
The Girl I Can't Forget
...Baby One More Time

Traffic and Weather (2007)
Hotel Majestic
I-95

If any of this strikes your fancy, check out 'Valley Winter Song' and 'Hackensack' from Welcome Interstate Managers, 'New Routine' and 'Fire in the Canyon' from Traffic and Weather... heck, check them all out, you won't be disappointed.

-Billy