Search: Starring Adam Sandler

There are some good gags along the way.

When you're relying on cameos from Carmen Electra you should know you're in trouble.

Sandler's five years on Saturday Night Live, as writer and performer, taught him the first lesson of sight bite comedy - keep it simple.

For a Saturday night popcorn comedy with a darker edge, you could do a lot worse.

The film lacks strong enough dialogue to do justice to the boldness of its script.

The film is a bit of a mixed up mess of slapstick, quickfire jokes and sub-teen romantic comedy with musical and dance numbers.

The plot flies in and out of lunacy at gasp speed

A one-gag concept lasts as long as a werewolf's belch

It cannot be denied that Jay Kelly is interested in exploring the human condition through the lens of fame and fatherhood, but the romantic, sentimental, and saccharine tones come with a risk.

The lack of any subtlety numbs the audience.

The balance of the super real with intricately timed artifice and how they collapse into each other is Baumbach's crown achievement.

In the end, it is a question of taste. Either this is Capra refried, or Sandler on toast.

There are similarities to the work of David Lynch and Jocelyn Moorhouse, but this is something entirely fresh.

Sandler turns in one of the most convincing portraits of a mentally ill person seen on our screens for years.

James L Brooks has nurtured a very convincing ensemble piece, with some delicately pitched performances.

While the lo-fi production design on the spaceship - with its man-made webbing and items from food tins to tools strapped down left right and centre - is absorbing in its detail, there's only so long it can distract you from the film's bloated running time.

Adam Sandler has always been a contender. Sexy and fun for some. Sandpaper for others.

Making fun of learning difficulties is not nice. Mommy says so.

None of this is fresh, but it's approached with a certain vigour and a disarming lack of pretension.