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Directed by | |||
| Dennis Dugan | |||
Writing credits(WGA) | ||
| Steve Franks | (story) | |
| Steve Franks | (screenplay) and | |
| Tim Herlihy | (screenplay) & | |
| Adam Sandler | (screenplay) | |
Produced by | |||
| Joseph M. Caracciolo | .... | executive producer | |
| Allen Covert | .... | associate producer | |
| Sidney Ganis | .... | producer (as Sid Ganis) | |
| Jack Giarraputo | .... | producer | |
| Michelle Holdsworth | .... | associate producer | |
| Adam Sandler | .... | executive producer | |
| Robert Simonds | .... | executive producer | |
| Alex Siskin | .... | co-producer | |
Original Music by | |||
| Teddy Castellucci | |||
Cinematography by | |||
| Theo van de Sande | (director of photography) | ||
Film Editing by | |||
| Jeff Gourson | |||
Casting by | |||
| Roger Mussenden | |||
Production Design by | |||
| Perry Andelin Blake | |||
Art Direction by | |||
| Rick Butler | |||
Set Decoration by | |||
| Leslie Bloom | |||
Costume Design by | |||
| Ellen Lutter | |||
Makeup Department | |||
| Victor DeNicola | .... | key hair stylist | |
| Ann Pala | .... | hair stylist: Mr. Sandler | |
| Ann Pala | .... | makeup artist: Mr. Sandler | |
| Carla White | .... | key makeup artist | |
Production Management | |||
| David J. Grant | .... | production supervisor | |
| Cheryl Quarantiello | .... | unit production manager (as Cheryl Quarantiello Schnitzler) | |
Art Department | |||
| Gary Aharoni | .... | on-set dresser | |
| Dominick Direnzi | .... | scenic charge | |
| Nancy Griffith | .... | second assistant props | |
| Tom McDermott | .... | first assistant props (as Thomas McDermott) | |
| Carlos Menéndez | .... | assistant art director | |
| Mark Peltzer | .... | property master | |
| Ron Petagna | .... | construction coordinator (as Ronald Petagna) | |
| Dick Tice | .... | lead man (as Richard Tice) | |
| Loren Weeks | .... | assistant art director | |
| Frank Didio | .... | head carpenter (uncredited) | |
| Warren Drummond | .... | storyboard artist (uncredited) | |
| Vincent Guarriello | .... | key construction grip (uncredited) | |
| Leo Holder | .... | graphic artist (uncredited) | |
| Mike Montgomery | .... | construction grip (uncredited) | |
Sound Department | |||
| Christopher Boyes | .... | sound re-recording mixer (as Chris Boyes) | |
| Michael J. Broomberg | .... | foley artist (as Michael Broomberg) | |
| Dino Dimuro | .... | sound effects editor | |
| Paul Drenning | .... | adr mixer | |
| Richard Duarte | .... | foley mixer | |
| Victor Ray Ennis | .... | first assistant sound editor | |
| Hector C. Gika | .... | sound effects editor (as Hector Gika) | |
| Laura R. Harris | .... | dialogue editor | |
| Gary A. Hecker | .... | foley artist (as Gary Hecker) | |
| Chris Hogan | .... | supervising foley editor (as Christopher Hogan) | |
| Kimaree Long | .... | dialogue editor | |
| Tod A. Maitland | .... | sound mixer (as Tod Maitland) | |
| Paul Massey | .... | sound re-recording mixer | |
| Kelly Oxford | .... | supervising adr editor (as Kelly L. Oxford) | |
| Scott Sanders | .... | sound effects editor | |
| Mike Schmidt | .... | cable person | |
| Michael Scott | .... | boom operator | |
| Michael D. Wilhoit | .... | supervising sound editor (as Mike Wilhoit) | |
| Cody Dorkin | .... | adr (uncredited) | |
| Mark Kenna | .... | consultant: dolby film sound (uncredited) | |
Visual Effects by | |||
| Sheena Duggal | .... | visual effects supervisor: SPI | |
| Doug Forrest | .... | high speed compositing artist: SPI | |
| Julia Frey | .... | visual effects producer: SPI (as Julia Rivas) | |
| Grant Boucher | .... | visual effects executive producer (uncredited) | |
| Karl Denham | .... | visual effects supervisor: Station X Studios (uncredited) | |
| Thomas F. Ford IV | .... | high speed compositing digital production manager (uncredited) | |
| Anthony Harris | .... | assistant color timer (uncredited) | |
| Paul McGhee | .... | film scanning and recording (uncredited) | |
| Anne K. Miller | .... | visual effects coordinator (uncredited) | |
| Enrique Munoz | .... | digital artist (uncredited) | |
| Alan Precourt | .... | digital artist (uncredited) | |
| Rick Sander | .... | digital effects artist (uncredited) | |
| Grant Viklund | .... | digital coordinator (uncredited) | |
| Guy Wiedmann | .... | visual effects editor (uncredited) | |
Stunts | |||
| G.A. Aguilar | .... | stunt coordinator | |
| Norman Douglass | .... | stunts | |
| Peter Epstein | .... | stunts | |
| Roy Farfel | .... | stunt coordinator | |
| Tim Gallin | .... | stunts | |
| Tony Guida | .... | stunts | |
| Donald John Hewitt | .... | stunts | |
| Mick O'Rourke | .... | stunts | |
| Michael Russo | .... | stunts (as Mike Russo) | |
Casting Department | |||
| Elizabeth Boykewich | .... | casting associate | |
| Sylvia Fay | .... | extras casting (uncredited) | |
| Lee Genick | .... | extras casting (uncredited) | |
| Barry Moss | .... | casting: New York (uncredited) | |
Costume and Wardrobe Department | |||
| David Seth Cohen | .... | wardrobe production assistant | |
| Winsome G. McKoy | .... | wardrobe supervisor | |
| Richard Schurkamp | .... | assistant costume designer | |
| Heidi Shulman | .... | wardrobe supervisor | |
| Thomas Stokes | .... | set costumer | |
| Autumn Saville | .... | wardrobe production assistant (uncredited) | |
Editorial Department | |||
| Jane Pia Abramowitz | .... | first assistant editor (as Jane Abramowitz) | |
| Jacqueline F. Bisbano | .... | first assistant editor | |
| Amy Budden | .... | second assistant editor | |
| Heather Collier | .... | apprentice editor | |
| Richard Conkling | .... | first assistant editor | |
| Jason Gourson | .... | first assistant editor | |
| Mo Henry | .... | negative cutter | |
| Dennis McNeill | .... | color timer (as Denny McNeill) | |
| Dale Jones | .... | avid technician (uncredited) | |
| Eric Rigney | .... | avid technician (uncredited) | |
Music Department | |||
| Pete Anthony | .... | orchestrator | |
| Brooks Arthur | .... | score producer | |
| Wende Crowley | .... | music coordinator (as Wende Geikie) | |
| Sandy DeCrescent | .... | music contractor | |
| Michael Dilbeck | .... | music supervisor | |
| Stuart Grusin | .... | music editor | |
| Jon Kull | .... | orchestrator | |
| Lori Lahman | .... | music coordinator | |
| Stephen Lotwis | .... | supervising music editor | |
| Tom Mgrdichian | .... | orchestrator | |
| Jackie Sandler | .... | music assistant (as Jackie Titone) | |
| Gabe Veltri | .... | music mixer | |
| Gabe Veltri | .... | music recordist | |
| Michele Wernick | .... | music assistant | |
| Benoit Grey | .... | midi score transcriptor (uncredited) | |
| Antonio Magrane | .... | intern to music supervisor (uncredited) | |
| James Thatcher | .... | musician: French horn (uncredited) | |
Transportation Department | |||
| John Mulligan | .... | transportation co-captain | |
| Peter Tavis | .... | transportation captain (as Pete Tavis) | |
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| Little Miss Sunshine | Bad Santa | Milk | Nowhere | About a Boy |
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| Full cast and crew | Company credits | External reviews |
| News articles | IMDb Comedy section | IMDb USA section |
It's hard not to like "Big Daddy", though diehard fans of Adam Sandler may well cringe at this further step in the sentimentalization of the comic actor. For although this film has raised the hackles of a number of overly sensitive worrywarts for its seeming endorsement of permissive parenting, the film is, in reality, far more soft-hearted than hard-edged. Actually, this seems to be, probably, the wisest direction for Sandler to go in at the moment because, as an actor, he conveys an aura of genuine likability that fits well with his Average Joe persona. "Big Daddy" might have been a better film if it had not given in so easily to sentimentality and predictable emotional uplift, but Sandler's deadpan portrayal of an immature adult forced to grow up into responsibility-laden fatherhood makes the film relatively enjoyable.
Sandler portrays a 30-something loser living in South Manhattan, who has been milking a minor foot injury to the tune of a $200,000 court settlement and whose life, consequently, consists of miniscule employment, a general lack of direction, and a girlfriend who's ready to move on to an older man with a "5-year plan". When a little boy suddenly shows up on his doorstep (the hitherto unknown son of a friend of his), Sandler decides to temporarily take him under his wing in the hopes of winning his girlfriend back. Thus, a man with almost no resources of adult maturity attempts to instill skewed life lessons into a willing, highly impressionable young mind. This leads to Sandler's teaching the boy to indulge in predictable, but surprisingly timid, antisocial behavior such as urinating on public buildings, staying up late, tripping unsuspecting rollerbladers etc. The film is not always at its peak of creative freshness at such times, but Sandler's lowkey cynicism provides some humor.
As Sandler grows to care for his tot and the inevitable forces array themselves against him to take the child away, the film veers off in the direction of sappiness and maudlin tearjerking. One may be moved at times, but one also craves the satirical sharpness and bite that a more courageous screenplay might have provided.
The movie does display an enlightened view of gays (though Hollywood has yet to get past the point where gay characters can do more than merely twinkle at each other), but it loses points for its rather nasty tone towards old people. Still, any film designed to send Dr. Laura into spasms of psychoanalytical outrage should be respected and honored.
Overall, "Big Daddy" is a movie that, if it had taken more audacious pathways, might have been a firstrate comedy. As it is, it provides numerous chuckles and a cuddly warm feeling - and that, given the state of much of big screen comedy these days, is about all we dare allow ourselves to expect.