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You can draw a few pretty obvious parallels with films like 50 First Dates and A Walk To Remember, but writer Noreen Capili takes just enough creative liberties with Through Night And Day. You still end up rooting for him, though, despite some of his more questionable actions and the circumstances of his relationship with Jen – and that’s to the actor’s credit. His Ben tries hard to appear in control and self-assured, but often ends up coming across as awkward and confused. But in Through Night And Day, he very easily slips into the role of a leading man, albeit not one in the traditional sense.
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In the case of Contis, the former child actor has carved out a career in comedy, mostly doing TV work for a number of years. So to see them get top billing in a big screen project tells us that, hey, maybe this isn’t going to be like every other boring, cookie-cutter romance movie that has come out in the Philippines in recent years. If anything, they’re character actors, often cast as second leads. If you know anything about the Filipino movie industry, and with all due to respect to the two leads, you’d know that they’re not exactly matinee idols with box office pull. He just came out to entertain.But the casting of Contis and De Rossi is enough hint that Through Night And Day is an attempt to break the mould of tired rom-com tropes. Sandler didn’t come here to win everyone over. He’s always marched to the beat of his own drum, happy to do what makes him happy. This tender exploration of love and loneliness is an ode to weirdos-which, when you really think about it, could be said of Sandler’s filmography more generally. In a recent Actors on Actors conversation with Brad Pitt, Sandler credits Paul Thomas Anderson with making him believe he could pull off a dramatic role, but it’s impossible to imagine anyone else as the downtrodden, desperate Barry, channeling the impotent rage Sandler made his art into something more finessed. Paul Thomas Anderson’s spin on the rom-com saw Sandler take his first dramatic role as harried salesman Barry Egan, who wears ill-fitting suits and obsesses over a scheme to turn chocolate pudding into airline miles. There was only ever one film that could top this list. PUNCH-DRUNK LOVE, Adam Sandler, 2002, (c) Columbia/courtesy Everett Collection ©Columbia Pictures/Courtesy Everett Collection NB: I’ve excluded all short films, documentaries and uncredited cameos, mainly for my own sanity. Time has not been kind to some of his earlier work, and some of his later work for that matter, but any child of the '90s knows that Billy Madison is not to be trifled with. Sandler being Sandler, that list has grown, and it's time for a reassessment, so I sat down for a very long trip through the Sandman's filmography. Hell, this very magazine took his filmography to task not five years ago.
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And like the very best films he’s made, this one understands his knack for absolutely committing to the absurd.īut that doesn't change the fact that Sandler's career is long and.varied, full of great films, mediocre films, and a few outright terrible ones.
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That was the case until this week’s Uncut Gems (a Safdie Brothers instant classic), which relies on Sandler’s talent for playing underdogs-his Howard Ratner is scrappy and resilient, cracking jokes and taking punches on the chin. Almost every time he makes a film (and he does so more often than many other famous folks), we're reminded that the man responsible for Happy Gilmore and Punch-Drunk Love might just.not be all that interested in making movies like those anymore. Nothing divides an audience like Adam Sandler: there are those who regard him as a Chaplinesque comedic genius, and those who think his very existence is an insult to the craft of filmmaking itself.