The Reel Rejects - CLICK (2006) MOVIE REVIEW!! FIRST TIME WATCHING!

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Starting point is 00:01:26 Thank you to rock your money and hello fresh for sponsoring this video. All right, though, that was super fun. I got to say, you know, I mean, there are certainly elements of Adam Sandler's humor that aren't, you know, necessarily a hundred percent my flavor if I'm just going for, you know, what I'm gravitated toward. But I really enjoyed this experience, and I'd heard people say over the years that it was, you know, like a surprisingly good one or surprisingly affecting. And I can definitely see that here. This got me a little misty-eyed at a couple points, especially toward the end. Um, and yeah, it's like, you know, I was saying earlier, this, this reminds me of, I think it was a goosebumps or, or something. I mean, you know, like the, the idea of a remote control that controls real life is not, you know, the most crazy concept for a bunch of people to arrive at independently. But, but yeah, like, I like what this made out of that and the cautionary tale that this became and the way that it is essentially like a screwed story by the end of it. You know, you're seeing the error of your way personified in the past, in the present. present in the future with slightly less of, you know, the specific structure that that has.

Starting point is 00:02:35 But yeah, you have this otherworldly spirit who shows up here and there in Christopher Walken, who I really enjoyed is like sort of the, you know, the lead, not lead supporting character, because obviously you have a bunch of other lead supporting characters who are more, you know, who share more screen time, who are like the prominent figures in the Sandler character's life. But yeah, having him as this sort of main sort of, I don't know, this magical character existing on the periphery popping up every now and again. Like I said, it kind of reminded me like Don Knott's in Pleasantville, the TV repairman. But if he spent more time in the movie than he does in that particular film. And yeah, just like the way he brought his unique walkeniness, I thought was really well pitched in a tune because obviously you get Christopher Walking when you want Christopher Walken.

Starting point is 00:03:23 And in this movie, he's doing, you know, very much doing his walking, his timing, it's specific. And yeah, he's doing, he's leading into his unique cadence. And I think that, yeah, with the look that they have him in, he's just this perfect, you know, midway point between this whimsical, sort of impish figure and plausibly, you know, the spirit of death, essentially. And I like that that's what it became. Like, I do appreciate when a movie, especially a movie like this, any kind of, you know, comedy that's going for a high concept or something that does, you know, bring with it sort of an innate cautionary tale of some kind. Like, I like when we can shift over into, you know, seriousness when it's appropriate for the story, when it's appropriate for the action. And I thought this managed to do that, you know, obviously there are so many things. And it's such an enticing concept in general.

Starting point is 00:04:19 There's so many things that we would love to skip past in life. Certainly, like, traffic being, you know, like the first rung of that ladder. I think everybody would be like, man, if I could just fast forward the traffic experience, like, you know, that'd be great. You know, especially when you're sitting, you're not going anywhere. Like, I like a drive, but, you know, you get what I mean. And, and yeah, coming in with the fun of the concept and, you know, the promise of, yeah, idealizing your life by skipping all the boring bits and getting right to the good stuff or getting right to the thing you've been anticipating. It's something that, yeah, would entice anybody, I think, or most people, but could easily go wrong and enhance your worst qualities.

Starting point is 00:04:57 And I think that across the board, they did a nice job of that. You know, at first, like the whole thing of getting to the remote and the fact that they have like a billion remotes around. It did kind of feel like a bit of a random plot thread to get us there, like a mechanic specifically designed to get us there rather than, you know, a real part of the story or part of the characterization. Like the sweets and stuff, the cakes and the twinkies, like that felt more ingrained, even though even still that kind of felt like a, like just a, I don't know, it could have been

Starting point is 00:05:32 anything. Like it does come back. And there are elements of like, oh man, you know, like you're really unhealthy and you got fat or, you know, you had heart attacks or whatever. And you're like, it comes, I think, most into focus as, you know, a real part of the, you know, array of things happening within the character when it turns out that yeah like his son has grown up you know to be a heavier set guy or whatever that is and and you know that it's probably because of this mostly cake and sweets based you know eating like it's a miracle that the sad of sandler character

Starting point is 00:06:05 and everyone around him doesn't have like diabetes or something just because it seems like all he eats are twinkies uh but yeah yeah yeah having these different elements kind of come together to inform, you know, along with the obvious of he's really dedicated to his work and he's always prioritizing that over everything else. And I thought they did a nice job of drawing that portrait as well. Because, you know, again, there are a lot of things that kind of recur in some of these movies or in, you know, like business place, comedy or movie about a guy who's consumed by work in business, you know, and who needs to, you know, take a step back and recognize the little things and the important things about life and and to honor the people around him not just

Starting point is 00:06:48 you know the climb up the social and or uh you know economic ladder and all that stuff and yeah i thought they personified that nicely and they did a good job of starting out in a pretty grounded place where yeah this guy is a bit of a mess he's you know he's at least time management problems he's a bit of a you know he's got clutter all around and he's you know still holding down this high level architect like it is funny like i get what people are are pointing out when they laugh about, you know, these tropes of Adam Sandler movies in that, like, yeah, he's the schlubby kind of wise-ass dude who somehow manages to have, like, the most gorgeous wife ever always this time Kate Back in Sale. Well, I really liked in this, too. I mean, I feel like those are characters that can fall by the wayside or, you know, not, I mean, it's not like she gets a million moments to really explore this character and, you know, really unpack her life. But as, you know, you know, Where this character is positioned, I thought she brought a lot of just lovely presence to it and I really believed her. And you've got to, you know, kind of immediately love this person and want to see the best for them, along with the kids.

Starting point is 00:07:56 Kids are easier because they're cute. But yeah, you've got to really kind of feel for his family and you've got to be able to feel for her when she's going through the different, you know, trials that this dude presents her kind of constantly. And yeah, the way that sort of all that compiles the transition into the beyond section, which again, like, I thought that was, it was fun. Like, I don't think they're trying too hard to trick you. Like, it's in the editing. It's in the way the quality of the picture changes when he rolls over on the bed and the colors are a little different. The lighting's a little different. He goes into the beyond section, and obviously it has this heightened.

Starting point is 00:08:32 Again, everything is bigger on the inside. You know, like, it's clearly a bit whimsical and fantastical. and I don't think that they're really trying to, I don't think that they're trying to sell it like it's not a dream. I think they're just counting on the fact that you'll eventually forget about that. And I kind of did, you know, like eventually they cut back and you're like, okay, yeah, that's right. But yeah, I thought that was a nice conceit and a good way to, again,

Starting point is 00:08:55 honor the fact that this is a bit of it. It's funny, I just watched the mask, which almost had this. There are elements of that in a different way that were reminding me or harkening toward It's a Wonderful Life. And then here, you know, I was thinking very much. much of, yeah, some kind of screwed scenario, and especially, again, because it's this guy who is, there are a bunch of different ways to do this, but this takes the scope of, you know, a guy who is just dedicated to his business, to his job, to a fault. And again, that's something

Starting point is 00:09:23 that I think is very relatable where people are like, I just, I got to go hard on this because, you know, one more, one more, one more, and then we'll be able to rest. And then I'll have an assistant who can handle half this stuff. And then we will have the time. Then we will have the time later and that's a really hard thing and like you know being in an independent operation like a youtube channel often puts you into positions like that and and we are lucky enough here to be in positions where we don't have to be as like you know immediately on top of stuff and like rushing around and like on call all the time but there's still that you know that persistent I think across life no matter where you work or you find your you know living being made

Starting point is 00:10:00 there is that hazard of you know worrying that it's all going to go away and and that, you know, if you don't do what you're doing now, you're going to, you know, lose it all, or it's going to decrease or, you know, flail in some way because of that. You know, I think that's a very easy place to get to, and the fact that you need to sacrifice, and we live in a culture that incentivizes you to priority. That kind of equates all of your worth and value into your job and how productive you are and, you know, your ability to pay for things and conduct money efficiently. You know, like it's, it is the irony of like any piece of especially big scale corporate art telling you to, you know, step back, look at what's important, be with your family when this is in and of itself like a giant product that, you know, a bunch of people probably worked insane hours to make. So like there's a ton of irony in these kinds of stories or like Christopher Robin came to mind early on in the movie. And that's another one of those where it's like, thanks Disney. Like, like it works in isolation.

Starting point is 00:11:02 I like that movie even, but yeah, it's always that funny thing of like, okay, massive business corp who like half of this, half of these characters basically are the people working in places like that who aren't taking this advice, but that also are putting out a movie with this message, you know, it's kind of fun and ironic. But yeah, I liked the overall cast and there are like so many recognizable faces. I feel like we're getting to that point. This is like 2006, right? So we're getting to that point past that early heyday of like, you know, Sandler joins when he was probably what fresh off the S&L cast. Now we're more into like well-engrained Adam Sandler big screen presence. You know, again, we're solidifying the tropes of the Adam Sandler movie. And I like some of those things and other of those things, you know, you feel the kind of the wear and the stretch marks of time, you know, moments where you're like, okay, this hasn't maybe aged quite as well.

Starting point is 00:11:57 or this sensibility maybe doesn't fly as brazenly as it does, you know, in a time such as this, you know, that stuff doesn't fly as much now. You know, you get to the harassment seminar. I was like, oh, God, what way is this going to go? And, you know, it's relatively innocuous, but it is still kind of, like, different from the sensibility with which we approach those things these days. And, you know, you have, like, the Rachel Dratch character transitioning into being a man, which thankfully the movie doesn't spend too much time on.

Starting point is 00:12:27 and isn't too disrespectful about even though it is ultimately played for a joke and it is supposed to be some kind of like what is happening kind of thing but also it's not so much that you can't just be like well maybe she's maybe he's happier like this and we're good at that you know we're good with that

Starting point is 00:12:43 I don't know like yeah I don't that's me filling in the blank more than it is the movie so and just the you know barrage of like you know we got all these sexy assistants around and you know women be throwing themselves at Adam Sandler and the wife's sister is, you know, she's just sleeping with everybody's brother.

Starting point is 00:13:02 You know, like there are certain things like that that are, you know, a bit crude and a bit maybe less socially enlightened than we like to be these days. And, you know, they are what they are. You can't change them now in the past. You can't click that remote and go back. But as far as those elements go, those elements that usually kind of turn me off, the more crude and crass and the more, not to Not to, you know, I don't want to launch a war in the comments, but, you know, the humor that skews more misogynist, certainly. Maybe not in like a mean or malicious way, but certainly plays into those stereotypes.

Starting point is 00:13:39 You know, those elements are here. I don't love them, but they also didn't wreck the overall impact of the movie and the scenes that really do have their heart in a good place. And, you know, for, again, that slacker, you know, almost stoner kind of person, you know, I could see this being very touching as well. well you know this kind of speaks broad if you can tap into it for some of us if you can see past the crudeness or if the crudeness is your inroad either way you're kind of winding up at the message at the end and and the movie giving again way to the more um just thoughtful and you know harder hitting themes uh yeah i liked the journey of that going from yeah this fun innocuous slacker comedy ooh fantasy element we got this remote they could do everything but then slowly it's

Starting point is 00:14:25 you know, reading your mind and, again, enhancing and amplifying your, you know, your core tendencies, your id almost. And, you know, in doing so, it's highlighting the way in which, yeah, like a lot of, you know, we all go on autopilot. We all want to check out of certain things. And it's basically telling you that you should be present for everything. And yeah, at the end, that culminates in good things, fun things. You know, he wants to tell his parents that he loves them. He wants to spend that time with the kids and the family right now. Thank you to America's number one meal kid, Hello Fresh, for partnering with us. It's always great to partner with people whose services you actually use because as someone like me who's always juggling a pack schedule between filming and editing, finding time for healthy eating can be a challenge.

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Starting point is 00:18:16 But two, I mean, it's also about, yeah, you've got to take the showers and sit in the and have the arguments and freaking give a massage everybody's so averse to giving massages and and like warming things up in the bedroom and I'm like why guys like geez like again and it's part of the the goofiness of the of the plot and all that but I feel like you know yeah it's like you're trying to fast forward through this part to get to the already you know the the briefest most good part I guess to you but also yeah I don't know I'm just like How did you guys, like, is this always, you're like, there's that whole frequent joke of like, oh, it's so short, you know? And I'm like, but was it ever long if this is your attitude? Anyway, yeah. And then those things slowly picking up to the point where it's like, oh, I can't stop it. The thing is anticipating my thoughts and my, you know, inclinations. And it knows what I want to skip. And, and, you know, life can feel that way. Like, it's like time is outside your control, certainly. And that, you know, it's rocketing by and you're blinking and you're waking up.

Starting point is 00:19:19 you know many months later and you know obviously not one to one you've got all your memories you know you're there every day and there's a mundanity that comes with that but it is possible like time is a tricky and a strange thing and it moves fast and slow all at once and uh and i thought this in in more subtle ways kind of spoke to that and it's this the fear the horror element that kind of sets in over time is you're like oh my god you know i don't have control over this now you know there are lapses in my memory and i'm sort of coming to and and you know it's almost like you're It's almost like the story of someone disassociating. If you remove the sci-fi element of, you know, the remote and all the fun stuff,

Starting point is 00:19:57 like I thought it was really fun what they did with the, you know, like the construct and checking in on the rules. And like, okay, so you're kind of in an autopilot, like a really low-grade autopilot when you're fast-forwarding or skipping chapters. And I mean, I guess it's lucky that, you know, this guy's paths that he was on in autopilot basically led him to like huge, you know, again, economic success. But it does. It is just like a funny thing to me. I'm like, okay, interesting. Like, you know, because it could go so wrong in so many ways on autopilot when you're skipping ahead. Like, I have to imagine, it's like he thinks about what he wants and he gets there. So it's also a manifestation movie. But, but, you know, like, what if you got three years later to the point you thought you'd get your promotion and find yourself like out of the street or something? You know, but those are things that I wasn't really thinking about during the movie. And those are just things that, yeah, you can muse about within the high con. of it, you know, but for, again, a high concept comedy like this, that A, doesn't have to get very emotional if it doesn't want to, and B, doesn't have to develop the sci-fi, you know, doesn't have to develop the high concept, doesn't have to develop the rules of the world or whatever. I thought they did a fun job of paying attention to those things and, you know,

Starting point is 00:21:09 playing with time subtly so that, you know, when you're further into his life, you know, the set designs are really different and you're in like a future hospital at the end and, like, the hair cuts are changing and the outfits are changing and getting more, you know, sort of out there and more futurized and everything. And the makeups, too, like there are old age makeups. There are younger age makeups for some of the older actors. I thought all that stuff was nice. You know, the fat suits, like, again, for some of the more progressive and inclusive conversations we have, you know, developed in our culture, you know, since this came out, you know, like it's, you know, you're using.

Starting point is 00:21:47 that the bigger body for a punchline which is kind of a drag but it also does factor into the story to some degree again like those are things that if you really wanted to like flesh those threads out and be like oh man like you know this again Adam Sandler is able to like skate through this movie having like a fine enough physique whilst also like always eating candy so like I was like if you'd done this maybe a little more gradually but you know again there's that effect of like well, when he wakes up that way and it's like totally foreign, you know, like I get the choices they made here. If it was my movie, I might have, you know, finessed them a little better or, I don't know, just done it in a way that doesn't punch down quite as hard. But, you know,

Starting point is 00:22:30 again, for the sensibility of what this is, it's not to be unexpected, really. And I thought that, yeah, the greater strokes of the movie and, you know, the message behind it and just the way that it's characterized and the ensemble they drew together was quite charming and yeah by the end like this did transcend from being just a fun whimsical uh again sort of uh off uh not off the cuff but but yeah that sort of like um what is i don't know what to call that demeanor but that you know that ribbing sort of demeanor that sort of uh that very um like big brother kind of nougy demeanor where like yeah you know like it's it's uh it's busting a lot of balls and stuff like that but I bought the, you know, actual sentimental side, and I feel like we're also kind of witnessing that transition from, you know, more broad comedy for Sandler into, you know, starting to play with drama. Because, you know, when you get to the end there, again, like when he's saying, when he's replaying the moment of his father saying, I love you, son and, you know, looking at him that way. And even when he's got the bit later on, or no, no, it's just before that with his son. But then, yeah, later on when he wants, you know, his son not to make the mistakes that he did.

Starting point is 00:23:42 and, you know, to go on the honeymoon instead of staying back and working on this project that's in shambles or whatever, you know, like those moments I bought the commitment and the emotion and all that, too. And so, like, the sweet things that are supposed to tug at your heartstrings ultimately work, and so do the cautionary things. And I think that's, I'm starting to see that that's kind of the magic when it's working of an Adam Sandler movie. You know, it's the heart that arises despite, you know, the more abrasive parts of, you know, the more abrasive parts of the main character often's attitude. Sometimes it's characters around them.

Starting point is 00:24:17 Like if you're watching the Waterboy or something like that, you know, Bobby Boucher is like a, he's a very endearing and sweet character. Whereas I'm more used to seeing Adam Sandler play guys like this who are, again, a bit of a wise ass and who are real ballbusters and stuff like that. You know, he's kind of a guy's guy. So, yeah, like those elements are here.

Starting point is 00:24:39 And sometimes they're funny. and the rest of it, you know, I don't know, it's attuned well enough that when you suspend disbelief for, you know, what we know is the Sandler verse kind of, yeah, like this is an example of a movie that I thought tied together quite nicely and that worked and that, you know, showcased a good amount of heart and a thoughtful story. I could tell like, again, I hesitate to say that Adam Sandler, I hesitate to use the word mature, maturing maturity, but it does have a more matured. quality to it or it's aspiring to something more mature, you know, whilst also having like a bunch of humping dog jokes and stuff like that. But, you know, again, for what this is and for who it's playing to, you know, this, it's, again, the kind of comedy that I don't put at the top of my taste scale. But at the same time, I can tap into when it's good and when, again, there are, you know, other elements around, be they good casting, an interesting concept, some heart,

Starting point is 00:25:38 again a little bit of world weariness or whatever that is and I thought this tied together very nicely into all of that while also taking time to have a good sense of attunement with its fantasy and yeah I found it overall to be really fun and charming so those are my thoughts on click let me know your thoughts as well good soundtrack on this too

Starting point is 00:25:58 and yeah a lot of nice little character beats in between the more broad and crass elements so yeah I think there's a lot for a lot of different people to grab from this. And again, just a great high concept jumping off point in the universal remote and all that stuff. So, yeah, that's what I got for now.

Starting point is 00:26:17 Leave me your thoughts down below. Stay tuned for whatever comes next. Leave me whatever other Adam Sandler joins you want one or any of us to check out. And yeah, we'll catch you on the next one. Much love for now, people. And, uh, Cheers.

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The Reel Rejects - CLICK (2006) MOVIE REVIEW!! FIRST TIME WATCHING!

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