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 next day.
Sonny Koufax is 32 years old. He's a law school graduate. He's got a nice apartment in Manhattan. There's just one problem. He does nothing, except sit on his butt and live off an investment that was the result of a meager lawsuit he won a year ago. But after his fed up girlfriend leaves him, he comes up with the ingenious idea to adopt a five year old boy to showcase his newfound maturity. But things don't go as planned, and Sonny finds himself the unlikely foster father that will change his perspective on just looking out for himself.Written by
While filming, The Waterboy (1998) came out and was a huge success. Noticing the box-office, Sony sent a memo to the set, letting the production team and Adam Sandler know that they had extra money to film or expand scenes they felt were lacking. This allowed smaller characters played by Rob Schneider and Steve Buscemi to have greater roles. See more »
At the beginning of Lenny Koufax's examination of Sonny, he tells Sonny to cut his fingernails because they are too long. Minutes later when Sonny is hugging Julian, his hands are visible and it is obvious that Sonny's fingernails do not need trimming. See more »
[Julian and the Delivery Guy are learning how to read]
Electricity! Constitution! Philadelphia!
Fish! Pony! Hip, Hip Hop, Hip Hop anonymous? Damn you! You gave him the easy ones.
See more »
Note to Cozy's: Adam also likes your hamburgers See more »
When aired on TV, some scenes were altered, like:
When Sonny finds out McDonalds stopped serving breakfast at 10:30, his scream of "horseshit!" was changed to "Noooo!";
The word 'ass' was changed to 'butt'; the word 'shit' was altered or worked around;
The names of Sonny's snacks when he's watching hockey were blurred out; Sonny's line of "the money I got in the cab accident is kicking ass in the stock market" was altered.
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.
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