This review was first published on KENS5.com, and can be viewed here.
Adam Sandler is such a morally unkempt, familiarly uncouth and determinedly unkillable livewire of shameless intention in the adrenaline rush of “Uncut Gems” that watching him in Josh and Benny Safdie’s new film doesn’t involve seeing an actor strut about and say their lines so much as observing a star on the verge of bursting into supernova.
And as Sandler’s pernicious Jewish jeweler Howard Ratner goes, so do the Safdies and their movie. “Uncut Gems” – a grand showcase of acting, and also of the Safdies’ cosmic filmmaking sensibilities – swells when Howard swells, spirals when he spirals and takes a breath when he takes a breath (which, if I recall, is practically never). As with Robert Pattinson in the Safdies’ 2017 breakout “Good Time,” Sandler’s performance and the movie itself are impossible to separate and scrutinize on separate terms. A scant few other films in 2019 have had a similar kind of deeply-anchored performance—among them Elisabeth Moss in “Her Smell,” Lupita Nyong’o in “Us” and Jessie Buckley in “Wild Rose.”
It may very well be a career-defining performance for Sandman, but it’s worth parsing out what exactly that means for someone whose filmography is enshrined in memes and reaction gifs, and not necessarily conversations of the prestige. Continue reading →
[An edited version of this review was initially published on The Playlist, and can be viewed here.]
What most people might expect to be a source of endless riffing – or, at least, what I expected – in Netflix’s “Murder Mystery” is something the movie never really acknowledges, let alone uses as a punchline. Adam Sandler and Jennifer Aniston, America’s eternal schmuck and its ageless beacon of beauty, playing a couple of 15 years? “Surely there’s gotta be some joke in there,” I kept thinking to myself over its 100ish minutes.
There isn’t, and in a movie that uses nimble meta fingers to play around with Agatha Christie tropes in contemporary Europe, I’m not sure whether the hesitancy to poke fun at “Murder Mystery’s” most eye-catching detail is a result of restraint or a missed opportunity to dive further into the goofier personality of a movie that has too many of them to ever feel cinematically unique.
Essentially, that mystery defines watching “Murder Mystery,” an experience that’s perhaps as amusing as we should expect, given its platform and lack of real surprise. Netflix has ushered in a world where the decision of what new movies to watch is as low-stakes as ever, and if “Murder Mystery” – a movie with lots of homicide and a couple on the run from the law in a foreign country – is triumphant about one thing, it’s its complete absence of stakes. Continue reading →