By Kaity Keane
The sweet, simple chemistry that exists between Drew Barrymore and Adam Sandler in “50 First Dates” is hardly enough to save the film from a creeping sense of dj vu. The film feels like an unimpressive sequel to “The Wedding Singer,” shot seemingly on the beaches of “Survivor” and brewing with “Groundhog Day” twists that would make Bill Murray cringe.
Lucy Whitmore, played by Barrymore without surprises or spunk, is a young art teacher doomed to perpetually relive the same day. Her family and friends keep her from discovering the truth after a car crash leaves her with a dysfunctional temporal lobe and complete lack of short-term memory.
Her fisherman father and steroid-popping brother, played by Blake Clark and Sean Astin respectively, have chosen to keep Lucy living in a dream world — blissfully unaware she reads the same morning paper each day and celebrates her father’s birthday night after night. Peter Segal’s latest comedic endeavor lacks proof of his grasp on the importance of casting and chemistry — a talent most discernible in films like “Tommy Boy” and even “Anger Management.” Sandler’s apparent gift of a co-starring title to friend Rob Schneider proves random spots reserved for former SNL buds should be kept to a bare minimum, as Schneider’s dim attempt at bawdy stoner humor falls repeatedly flat and quickly becomes obnoxious.
The rest of Sandler and Barrymore’s friends seemed to be played by actual Hawaiians, though most were so painfully awkward on camera that their tediously delivered jokes became screechy and expected.
The flashback details of the accident scene, completed later with pictures of a gruesomely hospitalized Lucy, are entirely unwelcome in any Adam Sandler movie. The lifeless attempts at emotion and drama are awkward and out of place in a film that derives so much of its humor from constant reference to walrus genitalia and transgendered marine biology assistants.
Barrymore’s performance is fairly typical and hardly worth mentioning to anyone who has seen even one of her latest strands of feel good comedies. As for Sandler, having pulled off a more vulnerable seriousness in “Punch-Drunk Love” in no way qualifies him for the island playboy role. He is far too awkward, and let’s be honest, unattractive, to pull off the infamous womanizing marine biologist, Henry Roth. Luckily, this attempt seems to be dropped shortly after encountering Lucy, as he devotes himself to regaining her affection day after day.
The stunning visuals and gently chosen soundtrack save the film at several points. This is not to give too much credit to the cinematography of the light comedy; it is merely impossible for the exquisite Hawaiian landscape not to add an element of crystalline beauty. The music is undoubtedly the most favorable part of the film, as a soundtrack of UB40 covers (and covers done by UB40) drifts along subtly and appropriately as a steel-drummed backdrop. Several songs, most memorably a cover of the Police’s “Every Breath you Take,” establish an island atmosphere that offsets Sandler’s heavy, unwelcome presence in the tropical setting.
All in all, “50 First Dates” could be considered just as pleasant as any film that casts Adam Sandler as lead love interest — slightly nauseating but not without its moments of mumbling humor. The chemistry of Barrymore and Sandler may be charmingly undeniable, but it is time for a new premise.”50 First Dates” is rated PG-13 for coarse language, mild sexuality and slapstick violence.
