Henry Roth is a man afraid of commitment up until he meets the beautiful Lucy. They hit it off and Henry think he's finally found the girl of his dreams, until he discovers she has short-term memory loss and forgets him the very next day.
After moving his family back to his hometown to be with his friends and their kids, Lenny finds out that between old bullies, new bullies, schizo bus drivers, drunk cops on skis, and 400 costumed party crashers sometimes crazy follows you.
While in his teens, Donny fathered a son, Todd, and raised him as a single parent up until Todd's 18th birthday. Now, after not seeing each other for years, Todd's world comes crashing down when Donny resurfaces just before Todd's wedding.
Chuck Levine and Larry Valentine are friends and Brooklyn firefighting partners. Widower Larry, who still mourns the death of his wife Paula, is having problems changing the beneficiary on his insurance policy from Paula's name to his children's. He is worried about his children's future if he were to be killed in the line of duty, and is contemplating quitting his job for something less risky, but he also does not want to forfeit his firefighter's pension as he also see it as a safety net for his children. Larry saves Chuck's life on one of their calls. So when Chuck tells Larry that he owes him one, Larry takes him up on his offer. Larry's favor: despite both being heterosexual, that they enter into a domestic partnership, in name and paper only, to provide that much needed protection for Larry's children. Chronic womanizer Chuck reluctantly but eventually agrees. The one person who knows for a certainty that they are both straight is their boss, Captain Phineas J. Tucker. Their ... Written by
Gay jokes have always been staple of Adam Sandler comedies. It goes with Sandler's juvenile, boyish sense of humor. As far back as his "Saturday Night Live" days, Sandler has been serving up gay jokes left and right. It was only a matter of time until Sandler decided to extend his love of gay humor to feature length. What's surprising is how well I Now Pronounce You Chuck and Larry actually works. I've often said the best movies are the ones that have a point for existence. When millions are being spent, there should be a reason. Most of Sandler's pictures have had a message, however small they be. Billy Madison made it clear to its young audience to stay in school. Click made it painfully obvious that family is important. Now 'Chuck and Larry' comes with a message about tolerance and acceptance. I wasn't going to write a comment about 'Chuck and Larry', but after reading the critics' extremely venomous reaction to the flick, I think that they miss the point. Many have labeled it hypocritical for wanting to laugh at gays while standing up for them. Honestly I think the critics who say that had their minds made up about the film before they viewed it. The characters making homophobic remarks and jokes are seen as ignorant and unaware. True, there are stereotypes present, though most of them are stereotypes that the characters believe to be true. I found Brokeback Mountain to have just as many if not more stereotypes than are present here yet that was intended to be a serious drama.
80% of the jokes in 'Chuck & Larry' work the ones that don't are simply due to pacing. There's about ten more minutes of fat that could have been sucked out of the running time. Luckily, it's nowhere as dreadfully long as the Knocked Up was. However, I do wish that the film shared Knocked Up's R-rating (trims were made to make this a PG-13). There are times when the editing is extremely obvious and distracting, which took me out of the scene at times. Here's hoping for the original cut to be released on DVD. Somehow I doubt that it will. As satisfying as 'Chuck & Larry' is, seeing it as intended would be more fulfilling.
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