Dana Carvey has said that a viral rumour about his whereabouts on the day of 9/11 is, in fact, true.
The comedian was filming The Master of Disguise at the time of the terror attacks. In the film, he plays secret agent Pistachio Disguisey, who disguises himself as many characters throughout the film.
For years, it has been claimed that 11 September 2021 was the day that Carvey was filming scenes in one of the film’s most striking disguises – a bizarre-looking humanoid turtle – and that he “observed a moment of silence” while wearing it.
The rumour started after the piece of trivia was listed on the film’s IMDb page,
Wayne’s World star Carvey addressed this rumour during an episode of Fly on the Wall podcast on Wednesday (5 April).
“It’s kind of a sensitive topic, but after 9/11 I was shooting a movie called Master of Disguise,” he told his co-host, David Spade.
The comedian was filming The Master of Disguise at the time of the terror attacks. In the film, he plays secret agent Pistachio Disguisey, who disguises himself as many characters throughout the film.
For years, it has been claimed that 11 September 2021 was the day that Carvey was filming scenes in one of the film’s most striking disguises – a bizarre-looking humanoid turtle – and that he “observed a moment of silence” while wearing it.
The rumour started after the piece of trivia was listed on the film’s IMDb page,
Wayne’s World star Carvey addressed this rumour during an episode of Fly on the Wall podcast on Wednesday (5 April).
“It’s kind of a sensitive topic, but after 9/11 I was shooting a movie called Master of Disguise,” he told his co-host, David Spade.
- 4/6/2023
- by Jacob Stolworthy
- The Independent - Film
On Feb. 13, 1998, New Line unveiled The Wedding Singer in theaters in time for Valentine’s Day audiences. The Adam Sandler and Drew Barrymore rom-com went on to earn 123 million globally at the box office. The Hollywood Reporter’s original review is below.
We’ve all heard him, usually at weddings and bar mitzvahs where alcohol often blurs true appreciation of his talents. Song stylist extraordinaire, he has the uncanny ability to make virtually any song, even “In-a-Gadda-Da-Vida,” sound like “Hot Hot Hot.”
Now, thanks to Adam Sandler, he has been finally given his due in The Wedding Singer, a (for the most part) winning romantic comedy that plays off the per former’s sweet, loopy personality. Despite a saggy middle stymied by sappy good intentions, the picture stands as Sandler’s best effort.
Demographically, expect some thing of a trade-off. While all the lovey-dovey stuff might turn off some of his partying young male fans,...
We’ve all heard him, usually at weddings and bar mitzvahs where alcohol often blurs true appreciation of his talents. Song stylist extraordinaire, he has the uncanny ability to make virtually any song, even “In-a-Gadda-Da-Vida,” sound like “Hot Hot Hot.”
Now, thanks to Adam Sandler, he has been finally given his due in The Wedding Singer, a (for the most part) winning romantic comedy that plays off the per former’s sweet, loopy personality. Despite a saggy middle stymied by sappy good intentions, the picture stands as Sandler’s best effort.
Demographically, expect some thing of a trade-off. While all the lovey-dovey stuff might turn off some of his partying young male fans,...
- 2/13/2023
- by Michael Rechtshaffen
- The Hollywood Reporter - Movie News
"Master of Disguise" is remembered today for two reasons. The first is a scene in which its star, Dana Carvey, infiltrates an exclusive club known as the Turtle Club by dressing in a large green turtle-like suit. Led by the arm of a pained-looking Jennifer Esposito, Carvey bobs his head and makes noises that sound like a death rattle. He threatens bystanders, retreats into his suit when provoked, and (in the most terrifying scene of all) bites a man's nose off only to spit it right back onto his face. The scene ends with him spinning on his back on the ground, rattling madly. It is a pure manifestation of wrongness on par with the diner scene in "Mulholland Drive."
The second is the pervasive rumor spread via the Internet Movie Database that the Turtle Club scene was filmed on September 11, 2001, leading to a moment of silence on set. An...
The second is the pervasive rumor spread via the Internet Movie Database that the Turtle Club scene was filmed on September 11, 2001, leading to a moment of silence on set. An...
- 9/25/2022
- by Adam Wescott
- Slash Film
Win Tickets To The Advance Screening of Blended In St. Louis – Stars Drew Barrymore and Adam Sandler
After a disastrous blind date, single parents Lauren (Drew Barrymore) and Jim (Adam Sandler) agree on only one thing: they never want to see each other again. But when they each sign up separately for a fabulous family vacation with their kids, they are all stuck sharing a suite at a luxurious African safari resort for a week.
The film also stars Wendi McLendon-Covey (“Bridesmaids”) as Lauren’s best friend, Jen, and Joel McHale (TV’s “Community”) as her unreliable ex-husband, Mark. Kevin Nealon (“Weeds”) and Jessica Lowe (funnyordie’s “RobotDown”) star as Eddy ad Ginger, an overly romantic couple who are also vacationing at the resort, and Terry Crews (“The Expendables 2”) stars as the resort’s singing host. Dan Patrick (Espn SportsCenter) appears as Jim’s boss, Dick; and Shaquille O’Neal as his coworker, Doug.
Playing Jim’s three daughters are Bella Thorne (Disney Channel’s “Shake it Up...
The film also stars Wendi McLendon-Covey (“Bridesmaids”) as Lauren’s best friend, Jen, and Joel McHale (TV’s “Community”) as her unreliable ex-husband, Mark. Kevin Nealon (“Weeds”) and Jessica Lowe (funnyordie’s “RobotDown”) star as Eddy ad Ginger, an overly romantic couple who are also vacationing at the resort, and Terry Crews (“The Expendables 2”) stars as the resort’s singing host. Dan Patrick (Espn SportsCenter) appears as Jim’s boss, Dick; and Shaquille O’Neal as his coworker, Doug.
Playing Jim’s three daughters are Bella Thorne (Disney Channel’s “Shake it Up...
- 5/13/2014
- by Movie Geeks
- WeAreMovieGeeks.com
Adam Sandler and Drew Barrymore star in Blended, in theaters May 23, 2014.
Blended marks the third comedy collaboration between Sandler and Barrymore, following their successful onscreen pairings in the hit romantic comedies “50 First Dates” and “The Wedding Singer.”
After a disastrous blind date, single parents Lauren (Barrymore) and Jim (Sandler) agree on only one thing: they never want to see each other again. But when they each sign up separately for a fabulous family vacation with their kids, they are all stuck sharing a suite at a luxurious African safari resort for a week.
Watch the first trailer below.
This looks hilarious!
Blended also stars Joel McHale (NBC’s “Community”) as Lauren’s ex-husband, Mark, and Wendi McLendon-Covey (“Bridesmaids”) as her best friend, Jen; Kevin Nealon (“Weeds”) and Jessica Lowe (funnyordie’s “RobotDown”) as an overly romantic couple also vacationing at the resort; Terry Crews (“The Expendables 2”) as the resort...
Blended marks the third comedy collaboration between Sandler and Barrymore, following their successful onscreen pairings in the hit romantic comedies “50 First Dates” and “The Wedding Singer.”
After a disastrous blind date, single parents Lauren (Barrymore) and Jim (Sandler) agree on only one thing: they never want to see each other again. But when they each sign up separately for a fabulous family vacation with their kids, they are all stuck sharing a suite at a luxurious African safari resort for a week.
Watch the first trailer below.
This looks hilarious!
Blended also stars Joel McHale (NBC’s “Community”) as Lauren’s ex-husband, Mark, and Wendi McLendon-Covey (“Bridesmaids”) as her best friend, Jen; Kevin Nealon (“Weeds”) and Jessica Lowe (funnyordie’s “RobotDown”) as an overly romantic couple also vacationing at the resort; Terry Crews (“The Expendables 2”) as the resort...
- 12/18/2013
- by Michelle McCue
- WeAreMovieGeeks.com
Let’s face it. We can’t hide it. We all have those movies that we like that others would shun. These are guilty pleasures: the ones that aren’t that great but we love for some reason or another. Here are mine. Be sure to list yours in the comments, if you’d like.
Last Action Hero (1993)
Rotten Tomatoes: 38%
Actors: Arnold Schwarzenegger, Austin O’Brien, F. Murray Abraham, Art Carney, Charles Dance
Director: John McTiernan/Writers: Shane Black and David Arnott
Here’s the thing: I will defend this movie’s concept till Doomsday. A movie about a kid with a magic ticket that gets pulled into an Arnold Schwarzenegger movie? Genius concept. Yes, the kid is annoying. Yes, the movie doesn’t reach the heights of a McTiernan/Black team-up as well as one might think. It’s interesting to note that McTiernan isn’t working as much...
Last Action Hero (1993)
Rotten Tomatoes: 38%
Actors: Arnold Schwarzenegger, Austin O’Brien, F. Murray Abraham, Art Carney, Charles Dance
Director: John McTiernan/Writers: Shane Black and David Arnott
Here’s the thing: I will defend this movie’s concept till Doomsday. A movie about a kid with a magic ticket that gets pulled into an Arnold Schwarzenegger movie? Genius concept. Yes, the kid is annoying. Yes, the movie doesn’t reach the heights of a McTiernan/Black team-up as well as one might think. It’s interesting to note that McTiernan isn’t working as much...
- 12/20/2011
- by Zack Parks
- GeekTyrant
Adam Sandler stars in the title roles of Jack and Jill, the new comedy from Happy Madison. Jack was living an almost perfect life, with the exception of one, annoying constant . his twin sister Jill. Every year he has to tolerate a Thanksgiving visit from his smothering sister, who doesn.t take long to turn his life upside down. As the weekend intrusion starts stretching into a month, the siblings fight, tease, and bicker in the way only twins can. When it becomes clear Jill is never leaving, Jack sets into motion several schemes that he hopes will return Jill to where he loves her most . the other side of the country.
Director Dennis Dugan re-teams with Adam Sandler for the eighth time on the comedy Jack and Jill. .What I found interesting was that somewhere partway through the production I thought of Adam as playing Jack, but I thought...
Director Dennis Dugan re-teams with Adam Sandler for the eighth time on the comedy Jack and Jill. .What I found interesting was that somewhere partway through the production I thought of Adam as playing Jack, but I thought...
- 11/2/2011
- by Movie Geeks
- WeAreMovieGeeks.com
Opens: Friday, June 6 (Columbia)As a commando-turned-hairdresser with superheroic strength and a supersized crotch, Adam Sandler gets the Israeli accent and the disco swagger just right. Laughs are less of a sure thing in "You Don't Mess With the Zohan," but the comedy star's legions of fans will welcome the cheerfully crude proceedings as a return to silliness after several earnest, lower-key character turns. The melange of Middle East diplomacy, action absurdity, sexual healing and, when in doubt, hummus, wavers between muscular and middling. It's a surefire hit.
Zohan marks Sandler's first official big-screen collaboration with Judd Apatow, who had uncredited writing duties on The Wedding Singer; here they're co-scripters with longtime Sandler collaborator Robert Smigel. Tempering broad mischief with "why can't we all just get along" decency, the screenplay strikes a horndog posture with an utter lack of cynicism. Dennis Dugan, directing his fourth Sandler feature, choreographs the shenanigans with energy but doesn't avoid dead spots or jokes that fall flat. What keeps the audience engaged is the obvious glee Sandler and the rest of the cast bring to their ludicrous yet grounded roles.
A fine match for the Zohan is John Turturro's Phantom, an unstoppable Palestinian agent and fast-food entrepreneur. But after these two unlikely warriors face off yet again, Zohan, who has grown tired of fighting, fakes his own death and flees to New York in order to realize his hairstyling dream. Armed with a photo album of 1987 Paul Mitchell 'dos, he reinvents himself as Scrappy Coco and lands a job in a salon run by Palestinian beauty Dalia (Emmanuelle Chriqui). Before long, he's providing the elderly female clientele with the kind of full-service treatment that makes Warren Beatty's Shampoo hairdresser look like a prude.
As the adolescent philosophy of Zohan would have it, horniness can save the world. In the quasi-Old World neighborhood where Arab and Israeli shop owners coexist (nice work by production designer Perry Andelin Blake, as are his convincingly lived-in New York apartments), when the men argue politics, they're in easy accord on the desirability of politicos' wives (and Hillary). But peace is not quite within reach when a Palestinian cabbie (Rob Schneider) with a grudge or two is hot on Zohan's trail, and a neighborhood-destroying developer (Michael Buffer) will stoop very low to clear the way for his next megamall. Before its final explosion of lunacy, the film takes a well-placed dig at homegrown U.S. terrorists of the redneck variety.
The melting-pot production's bounty of cameos includes John McEnroe, Chris Rock and George Takei, with some (Mariah Carey, Henry Winkler) receiving too much screen time for far-too-little payoff. As one of the Zohan's special friends, the always game Lainie Kazan is a standout, as is Nick Swardson as her horrified son. Daoud Heidami shines as a friend who aids and abets the cluelessly plotting Schneider.
Amid the over-the-top stunts and a buff Sandler's spot-on strutting, there's an improvisational looseness to some of the scenes that partly compensates for tired jokes about hummus as the great equalizer. Given the comedy hot shots involved, though, Zohan should have landed more laughs.
Production: Columbia presents in association with Relativity Media a Happy Madison production; Cast: Adam Sandler, John Turturro, Emmanuelle Chriqui, Rob Schneider; Director: Dennis Dugan; Screenwriter: Adam Sandler, Robert Smigel, Judd Apatow; Executive producer: Barry Bernardi, Robert Smigel; Producers: Adam Sandler, Jack Giarraputo. Director of photography: Michael Barrett; Production designer: Perry Andelin Blake; Music: Rupert Gregson-Williams; Co-producer: Kevin Grady; Costume designer: Ellen Lutter; Editor: Tom Costain; Rated PG-13, 113 minutes.
Zohan marks Sandler's first official big-screen collaboration with Judd Apatow, who had uncredited writing duties on The Wedding Singer; here they're co-scripters with longtime Sandler collaborator Robert Smigel. Tempering broad mischief with "why can't we all just get along" decency, the screenplay strikes a horndog posture with an utter lack of cynicism. Dennis Dugan, directing his fourth Sandler feature, choreographs the shenanigans with energy but doesn't avoid dead spots or jokes that fall flat. What keeps the audience engaged is the obvious glee Sandler and the rest of the cast bring to their ludicrous yet grounded roles.
A fine match for the Zohan is John Turturro's Phantom, an unstoppable Palestinian agent and fast-food entrepreneur. But after these two unlikely warriors face off yet again, Zohan, who has grown tired of fighting, fakes his own death and flees to New York in order to realize his hairstyling dream. Armed with a photo album of 1987 Paul Mitchell 'dos, he reinvents himself as Scrappy Coco and lands a job in a salon run by Palestinian beauty Dalia (Emmanuelle Chriqui). Before long, he's providing the elderly female clientele with the kind of full-service treatment that makes Warren Beatty's Shampoo hairdresser look like a prude.
As the adolescent philosophy of Zohan would have it, horniness can save the world. In the quasi-Old World neighborhood where Arab and Israeli shop owners coexist (nice work by production designer Perry Andelin Blake, as are his convincingly lived-in New York apartments), when the men argue politics, they're in easy accord on the desirability of politicos' wives (and Hillary). But peace is not quite within reach when a Palestinian cabbie (Rob Schneider) with a grudge or two is hot on Zohan's trail, and a neighborhood-destroying developer (Michael Buffer) will stoop very low to clear the way for his next megamall. Before its final explosion of lunacy, the film takes a well-placed dig at homegrown U.S. terrorists of the redneck variety.
The melting-pot production's bounty of cameos includes John McEnroe, Chris Rock and George Takei, with some (Mariah Carey, Henry Winkler) receiving too much screen time for far-too-little payoff. As one of the Zohan's special friends, the always game Lainie Kazan is a standout, as is Nick Swardson as her horrified son. Daoud Heidami shines as a friend who aids and abets the cluelessly plotting Schneider.
Amid the over-the-top stunts and a buff Sandler's spot-on strutting, there's an improvisational looseness to some of the scenes that partly compensates for tired jokes about hummus as the great equalizer. Given the comedy hot shots involved, though, Zohan should have landed more laughs.
Production: Columbia presents in association with Relativity Media a Happy Madison production; Cast: Adam Sandler, John Turturro, Emmanuelle Chriqui, Rob Schneider; Director: Dennis Dugan; Screenwriter: Adam Sandler, Robert Smigel, Judd Apatow; Executive producer: Barry Bernardi, Robert Smigel; Producers: Adam Sandler, Jack Giarraputo. Director of photography: Michael Barrett; Production designer: Perry Andelin Blake; Music: Rupert Gregson-Williams; Co-producer: Kevin Grady; Costume designer: Ellen Lutter; Editor: Tom Costain; Rated PG-13, 113 minutes.
"Click" takes an old theme -- that life is to be cherished in each moment, even the seemingly insignificant ones -- and gives it a postmodern spin by dropping in funnyman Adam Sandler and a mischievous Universal Remote with its own Life Menu. The movie is gag-filled, as you would expect of a Sandler movie, but the filmmakers -- director Frank Coraci and writers Steve Koren and Mark O'Keefe -- realize they have hit upon an idea that is both clever and good, so they edge their comedy into some darker areas of human behavior. While the film pulls back from this dark side for a sunny ending, this nevertheless is light years removed from "Happy Gilmore" or "The Waterboy". So its anticipated boxoffice success will reflect Sandler's winning attempt to broaden his appeal.
Sandler's Michael Newman is established as a harried, workaholic architect determined to win the approval of his boss (David Hasselhoff) so he will be named a partner in the firm. Which leaves his lovely wife, Donna (Kate Beckinsale), and picture-perfect kids, Ben (Joseph Castanon) and Samantha (Tatum McCann), in the lurch. Dad hasn't any time to take a holiday or even finish that treehouse in the backyard.
Annoyed one evening when he can't figure out which of his remotes turns on the TV, Michael drives to a store to purchase a universal remote to operate all his electronic equipment. At Bed, Bath & Beyond, he slips through a door marked Beyond, which takes him to a shadowy warehouse/lab where a slightly demented guy named Morty -- Christopher Walken, who else? -- hands him a gadget that he promises will change Michael's life. It does.
Michael discovers that this remote can not only muffle the dog's bark, but let him fast-forward through arguments with Donna and skip the drudgery of work. The drawback is that the remote begins to program Michael: It anticipates, based on his previous preferences, the events he would like to experience and those he would choose to miss. Only now he is skipping over major sections of his life, fast-forwarding to the day he finally becomes a partner only to return home to a family irredeemably estranged from dad.
"Click" has a grand time aging people, portraying the results of a junk-food addiction over a long haul and seeing relationships crumble and resume at a click of a button. Clearly, this gag leads to serious themes explored in works as divergent as Harry Chapin's song "Cat's in the Cradle", Thorton Wilder's play "Our Town" and Charles Dickens' novella "A Christmas Carol", where a protagonist learns he must treasure everyday life just as it is and realizes the consequences of mistreating those who are close.
The logic of this Universal Remote is not completely thought through. If Michael can fast-forward in time, why can't he hit reverse and alter his destiny? More puzzling is that the devise seems to create two different Michaels. The one who hits the clicker is still sensitive to his desperate need for his family and their love. But the "bad" Michael, the one he catches up with in these time-travel leaps, is completely cut off, if not hostile, to family members.
Fortunately, Sandler sells the good Michael as a likable guy even when crazed with work and seems truly startled at this deviant version of himself. Michael's children, played at different stages by three sets of actors, grow up believably. However, Beckinsale's Donna isn't given much to work with other than an unlikely shift in her romantic affections.
Characters on the periphery -- Hasselhoff, Henry Winkler and Judy Kavner as Michael's parents, Sean Astin as a swim coach and Jennifer Coolidge as Donna's husband-cheating girlfriend -- are all caricatures.
The visual effects by Jim Rygiel and Pete Travers and special effects supervised by John Hartigan are part of the fun. The various design elements pull you into the world of the Universal Remote as well as a credible future complete with 2016 cars and Perry Andelin Blake's sleek production design, all expertly woven together by Dean Semler's crisp cinematography.
CLICK
Columbia Pictures
Columbia Pictures/Revolution Studios present a Happy Madison/Original Film production
Credits:
Director: Frank Coraci
Screenwriters: Steve Koren, Mark O'Keefe
Producers: Adam Sandler, Jack Giarraputo, Neal H. Moritz, Steve Koren, Mark O'Keefe
Executive producers: Barry Bernardi, Tim Herlihy
Director of photography: Dean Semler
Production designer: Perry Andelin Blake
Music: Rupert Gregson-Williams
Costume designer: Ellen Lutter
Editor: Jeff Gourson
Cast:
Michael: Adam Sandler
Donna: Kate Beckinsale
Morty: Christopher Walken
Ammer: David Hasselhoff
Ted: Henry Winkler
Trudy: Julie Kavner
Bill: Sean Astin
MPAA rating PG-13
Running time -- 106 minutes...
Sandler's Michael Newman is established as a harried, workaholic architect determined to win the approval of his boss (David Hasselhoff) so he will be named a partner in the firm. Which leaves his lovely wife, Donna (Kate Beckinsale), and picture-perfect kids, Ben (Joseph Castanon) and Samantha (Tatum McCann), in the lurch. Dad hasn't any time to take a holiday or even finish that treehouse in the backyard.
Annoyed one evening when he can't figure out which of his remotes turns on the TV, Michael drives to a store to purchase a universal remote to operate all his electronic equipment. At Bed, Bath & Beyond, he slips through a door marked Beyond, which takes him to a shadowy warehouse/lab where a slightly demented guy named Morty -- Christopher Walken, who else? -- hands him a gadget that he promises will change Michael's life. It does.
Michael discovers that this remote can not only muffle the dog's bark, but let him fast-forward through arguments with Donna and skip the drudgery of work. The drawback is that the remote begins to program Michael: It anticipates, based on his previous preferences, the events he would like to experience and those he would choose to miss. Only now he is skipping over major sections of his life, fast-forwarding to the day he finally becomes a partner only to return home to a family irredeemably estranged from dad.
"Click" has a grand time aging people, portraying the results of a junk-food addiction over a long haul and seeing relationships crumble and resume at a click of a button. Clearly, this gag leads to serious themes explored in works as divergent as Harry Chapin's song "Cat's in the Cradle", Thorton Wilder's play "Our Town" and Charles Dickens' novella "A Christmas Carol", where a protagonist learns he must treasure everyday life just as it is and realizes the consequences of mistreating those who are close.
The logic of this Universal Remote is not completely thought through. If Michael can fast-forward in time, why can't he hit reverse and alter his destiny? More puzzling is that the devise seems to create two different Michaels. The one who hits the clicker is still sensitive to his desperate need for his family and their love. But the "bad" Michael, the one he catches up with in these time-travel leaps, is completely cut off, if not hostile, to family members.
Fortunately, Sandler sells the good Michael as a likable guy even when crazed with work and seems truly startled at this deviant version of himself. Michael's children, played at different stages by three sets of actors, grow up believably. However, Beckinsale's Donna isn't given much to work with other than an unlikely shift in her romantic affections.
Characters on the periphery -- Hasselhoff, Henry Winkler and Judy Kavner as Michael's parents, Sean Astin as a swim coach and Jennifer Coolidge as Donna's husband-cheating girlfriend -- are all caricatures.
The visual effects by Jim Rygiel and Pete Travers and special effects supervised by John Hartigan are part of the fun. The various design elements pull you into the world of the Universal Remote as well as a credible future complete with 2016 cars and Perry Andelin Blake's sleek production design, all expertly woven together by Dean Semler's crisp cinematography.
CLICK
Columbia Pictures
Columbia Pictures/Revolution Studios present a Happy Madison/Original Film production
Credits:
Director: Frank Coraci
Screenwriters: Steve Koren, Mark O'Keefe
Producers: Adam Sandler, Jack Giarraputo, Neal H. Moritz, Steve Koren, Mark O'Keefe
Executive producers: Barry Bernardi, Tim Herlihy
Director of photography: Dean Semler
Production designer: Perry Andelin Blake
Music: Rupert Gregson-Williams
Costume designer: Ellen Lutter
Editor: Jeff Gourson
Cast:
Michael: Adam Sandler
Donna: Kate Beckinsale
Morty: Christopher Walken
Ammer: David Hasselhoff
Ted: Henry Winkler
Trudy: Julie Kavner
Bill: Sean Astin
MPAA rating PG-13
Running time -- 106 minutes...
- 6/23/2006
- The Hollywood Reporter - Movie News
The second picture to debut in as many weeks featuring a star in multiple roles, "The Master of Disguise" makes a certain International Man of Mystery look like a towering creative genius by comparison.
An embarrassing mess for all involved, this so-called family comedy is about as unfunny as unfunny gets. Even its fart jokes are below the industry standard.
Through it all, Dana Carvey labors under mounds of makeup and the sadly mistaken impression that his multitude of characters will induce side-splitting convulsions with the slightest arch of an eyebrow.
Truth be told, even if it was a better film, it's unlikely that Carvey would have stood much of a chance taking on his old "Wayne's World" cohort Mike Meyers. And with the "Spy Kids" sequel arriving next week, this Revolution Films presentation looks to have a now-you-see-it-now-you-don't boxoffice future.
Clocking in at a still-punishing 70 minutes (not counting a bloated end credits sequence jammed with outtakes from elaborate scenes that are nowhere to be found in the main event), the story, credited to Carvey and Harris Goldberg, concerns the bumbling Pistachio Disguisey (Carvey), the latest and least promising in a long line of family masters of disguise.
When his mother (Edie McClurg) goes missing and his restaurateur father, Frabbrizio (James Brolin), is kidnapped by his old archenemy Devlin Bowman (a flatulent Brent Spiner), Pistachio -- schooled in the fine art of transformation by his grandfather, Grandpa Disguisey (Harold Gould), and accompanied by a lovely assistant (Jennifer Esposito) -- must spring into action.
For the duration, Carvey dons such knee-slapping get-ups as the bespectacled Turtle Man and an Indian snake charmer (with apologies to Peter Sellers) when not running around disguised as a pile of grass with a giant cow pie on his face or as a dripping mass of cherry pie filling.
But the pie guy's not the only thing about this sorry enterprise that's half-baked. Marking the directorial debut of production designer Perry Andelin Blake, who has worked on most of executive producer Adam Sandler's films, "Master of Disguise" looks like it was made for about $1.95 before a pair of editors attempted to hack it into something salvageable.
Given that Carvey has said he wanted to make a movie for his kids, the end result would likely constitute child abuse in a number of states.
THE MASTER OF DISGUISE
Columbia Pictures
Revolution Studios presents a Happy Madison production in association with Out of the Blue Entertainment
Credits: Director: Perry Andelin Blake; Screenwriters: Dana Carvey, Harris Goldberg; Producers: Sid Ganis, Alex Siskin, Barry Bernardi, Todd Garner; Executive producers: Adam Sandler, Jack Giarraputo; Director of photography: Peter Lyons Collister; Production designer: Alan Au; Editors: Peck Prior, Sandy Solowitz; Costume designer: Mona May; Special makeup effects: Kevin Yagher; Music: Marc Ellis; Music supervisor: Michael Dilbeck. Cast: Pistachio Disguisey: Dana Carvey; Devlin Bowman: Brent Spiner; Jennifer: Jennifer Esposito; Grandpa Disguisey: Harold Gould; Frabbrizio Disguisey: James Brolin; Sophia: Maria Canals.
MPAA rating PG, running time 80 minutes.
An embarrassing mess for all involved, this so-called family comedy is about as unfunny as unfunny gets. Even its fart jokes are below the industry standard.
Through it all, Dana Carvey labors under mounds of makeup and the sadly mistaken impression that his multitude of characters will induce side-splitting convulsions with the slightest arch of an eyebrow.
Truth be told, even if it was a better film, it's unlikely that Carvey would have stood much of a chance taking on his old "Wayne's World" cohort Mike Meyers. And with the "Spy Kids" sequel arriving next week, this Revolution Films presentation looks to have a now-you-see-it-now-you-don't boxoffice future.
Clocking in at a still-punishing 70 minutes (not counting a bloated end credits sequence jammed with outtakes from elaborate scenes that are nowhere to be found in the main event), the story, credited to Carvey and Harris Goldberg, concerns the bumbling Pistachio Disguisey (Carvey), the latest and least promising in a long line of family masters of disguise.
When his mother (Edie McClurg) goes missing and his restaurateur father, Frabbrizio (James Brolin), is kidnapped by his old archenemy Devlin Bowman (a flatulent Brent Spiner), Pistachio -- schooled in the fine art of transformation by his grandfather, Grandpa Disguisey (Harold Gould), and accompanied by a lovely assistant (Jennifer Esposito) -- must spring into action.
For the duration, Carvey dons such knee-slapping get-ups as the bespectacled Turtle Man and an Indian snake charmer (with apologies to Peter Sellers) when not running around disguised as a pile of grass with a giant cow pie on his face or as a dripping mass of cherry pie filling.
But the pie guy's not the only thing about this sorry enterprise that's half-baked. Marking the directorial debut of production designer Perry Andelin Blake, who has worked on most of executive producer Adam Sandler's films, "Master of Disguise" looks like it was made for about $1.95 before a pair of editors attempted to hack it into something salvageable.
Given that Carvey has said he wanted to make a movie for his kids, the end result would likely constitute child abuse in a number of states.
THE MASTER OF DISGUISE
Columbia Pictures
Revolution Studios presents a Happy Madison production in association with Out of the Blue Entertainment
Credits: Director: Perry Andelin Blake; Screenwriters: Dana Carvey, Harris Goldberg; Producers: Sid Ganis, Alex Siskin, Barry Bernardi, Todd Garner; Executive producers: Adam Sandler, Jack Giarraputo; Director of photography: Peter Lyons Collister; Production designer: Alan Au; Editors: Peck Prior, Sandy Solowitz; Costume designer: Mona May; Special makeup effects: Kevin Yagher; Music: Marc Ellis; Music supervisor: Michael Dilbeck. Cast: Pistachio Disguisey: Dana Carvey; Devlin Bowman: Brent Spiner; Jennifer: Jennifer Esposito; Grandpa Disguisey: Harold Gould; Frabbrizio Disguisey: James Brolin; Sophia: Maria Canals.
MPAA rating PG, running time 80 minutes.
"Big Daddy" will satisfy Adam Sandler fans just as surely as it will reinforce the prejudices of his detractors. Sporadically funny with healthy doses of crude infantilism, the comedy raises two questions: Will Sandler ever play a grown-up? And will the boxoffice for "Big Daddy" surge beyond the high-water mark of Sandler's "The Waterboy"?
Released in November, "The Waterboy" grossed an astonishing $151.6 million. Compared to that film, "Big Daddy" is Neil Simon. This one at least has the resemblance of a plot, and its people are characters rather than cartoons. Columbia should have a hit on its hands.
This time out, Sandler's perennial underachiever is a law school graduate. But fear not: He remains a childlike slacker, avoiding responsibility and enjoying life in a great Manhattan apartment with roommate Jon Stewart despite little discernible income.
When girlfriend Kristy Swanson threatens to walk out over his irresolute lifestyle, Sandler "adopts" a 5-year-old boy to impress her. The child (played by twin brothers Cole and Dylan Sprouse) actually belongs to his out-of-town roommate -- a son that his roomie is not even aware exists.
When Sandler's girlfriend dumps him anyway, he tries to return the kid to Social Services. But things don't go as he planned, so he is forced to keep the boy for a while.
From there the script by Steve Franks, Tim Herlihy and Sandler takes a highly predictable trajectory. The big kid and the smaller one learn life lessons from each other. Then the sister of his roommate's fiancee Joey Lauren Adams) discovers she has a yen for underachievers who struggle to achieve. Even the roommate's fiancee (Leslie Mann), who can't stand Sandler, is won over by his newfound maturity.
Incidents involving bed-wetting, vomiting and public urination provide much of the film's humor, and the story is populated with benignly eccentric characters. The best of these is Steve Buscemi's homeless dude, remarkably hip and articulate about his predicament.
Director Dennis Dugan (who worked with Sandler on "Happy Gilmore") paces things swiftly so no one is going to give much thought to these events. The actors also bring an appealing energy to their simplistic roles, enough so to wring laughs from the most Sandler-resistant audience members.
Cinematographer Theo Van de Sande's work is professional if uninspired. Perry Andelin Blake's sets are clearly just that and not places where people actually live.
BIG DADDY
Sony Pictures Releasing
Out of the Blue Entertainment/Jack Giarraputo production
A film by Dennis Dugan
Producers: Sid Ganis, Jack Giarraputo
Director: Dennis Dugan
Story: Steve Franks
Screenplay: Steve Franks and Tim Herlihy & Adam Sandler
Executive producers: Adam Sandler, Robert Simonds and Joseph M. Caracciolo
Director of photography: Theo Van de Sande
Production designer: Perry Andelin Blake
Music: Teddy Castellucci
Costume designer: Ellen Lutter
Editor: Jeff Gourson
Color/stereo
Cast:
Sonny: Adam Sandler
Layla: Joey Lauren Adams
Kevin: Jon Stewart
Julian: Cole Sprouse, Dylan Sprouse
Mr. Brooks: Josh Mostel
Corinne: Leslie Mann
Phil: Allen Covert
Delivery guy: Rob Schneider
Vanessa: Kristy Swanson
Mr. Koufax: Joe Bologna
Homeless guy: Steve Buscemi
Running time -- 95 minutes
MPAA rating: PG-13...
Released in November, "The Waterboy" grossed an astonishing $151.6 million. Compared to that film, "Big Daddy" is Neil Simon. This one at least has the resemblance of a plot, and its people are characters rather than cartoons. Columbia should have a hit on its hands.
This time out, Sandler's perennial underachiever is a law school graduate. But fear not: He remains a childlike slacker, avoiding responsibility and enjoying life in a great Manhattan apartment with roommate Jon Stewart despite little discernible income.
When girlfriend Kristy Swanson threatens to walk out over his irresolute lifestyle, Sandler "adopts" a 5-year-old boy to impress her. The child (played by twin brothers Cole and Dylan Sprouse) actually belongs to his out-of-town roommate -- a son that his roomie is not even aware exists.
When Sandler's girlfriend dumps him anyway, he tries to return the kid to Social Services. But things don't go as he planned, so he is forced to keep the boy for a while.
From there the script by Steve Franks, Tim Herlihy and Sandler takes a highly predictable trajectory. The big kid and the smaller one learn life lessons from each other. Then the sister of his roommate's fiancee Joey Lauren Adams) discovers she has a yen for underachievers who struggle to achieve. Even the roommate's fiancee (Leslie Mann), who can't stand Sandler, is won over by his newfound maturity.
Incidents involving bed-wetting, vomiting and public urination provide much of the film's humor, and the story is populated with benignly eccentric characters. The best of these is Steve Buscemi's homeless dude, remarkably hip and articulate about his predicament.
Director Dennis Dugan (who worked with Sandler on "Happy Gilmore") paces things swiftly so no one is going to give much thought to these events. The actors also bring an appealing energy to their simplistic roles, enough so to wring laughs from the most Sandler-resistant audience members.
Cinematographer Theo Van de Sande's work is professional if uninspired. Perry Andelin Blake's sets are clearly just that and not places where people actually live.
BIG DADDY
Sony Pictures Releasing
Out of the Blue Entertainment/Jack Giarraputo production
A film by Dennis Dugan
Producers: Sid Ganis, Jack Giarraputo
Director: Dennis Dugan
Story: Steve Franks
Screenplay: Steve Franks and Tim Herlihy & Adam Sandler
Executive producers: Adam Sandler, Robert Simonds and Joseph M. Caracciolo
Director of photography: Theo Van de Sande
Production designer: Perry Andelin Blake
Music: Teddy Castellucci
Costume designer: Ellen Lutter
Editor: Jeff Gourson
Color/stereo
Cast:
Sonny: Adam Sandler
Layla: Joey Lauren Adams
Kevin: Jon Stewart
Julian: Cole Sprouse, Dylan Sprouse
Mr. Brooks: Josh Mostel
Corinne: Leslie Mann
Phil: Allen Covert
Delivery guy: Rob Schneider
Vanessa: Kristy Swanson
Mr. Koufax: Joe Bologna
Homeless guy: Steve Buscemi
Running time -- 95 minutes
MPAA rating: PG-13...
- 6/18/1999
- The Hollywood Reporter - Movie News
We've all heard him, usually at weddings and bar mitzvahs where alcohol often blurs true appreciation of his talents. Song stylist extraordinaire, he has the uncanny ability to make virtually any song, even "In-A-Gadda-Da-Vida", sound like "Hot Hot Hot".
Now, thanks to Adam Sandler, he has been finally given his due in "The Wedding Singer", a (for the most part) winning romantic comedy that plays off of the performer's sweet, loopy personality.
Despite a saggy middle stymied by sappy good intentions, the picture still stands as Sandler's best effort.
Demographically, expect something of a trade-off. While all the lovey-dovey stuff might turn off some of his partying young male fans, the romantic theme and Valentine's weekend placement will win him a newly appreciative female contingent. Add a soundtrack bursting at the seams with blasts from the not-so-distant '80s past, and "The Wedding Singer" seems certain to make sweet boxoffice music for New Line.
The year is 1985 and Sandler is Robbie Hart, a struggling singer-songwriter trying to make ends meet as a musician/emcee for hire. While "Star Search" will never come knocking on his door, he gets the job done; that is, until his own intended betrothed (Angela Featherstone) abandons him at the altar.
Bitter and morose, Robbie's mood begins to affect his work, as evidenced by unforgettable renditions of Madonna's "Holiday" and the J. Geils Band's "Love Stinks", not to mention his tirades against innocent wedding guests.
But his downward spiral is halted by the nurturing presence of the lovely Julia (Drew Barrymore), a klutzy waitress who works at many of Robbie's functions. While Julia's planning to marry the smarmy Glenn (Matthew Glave) -- a thoroughly '80s combination of Michael Milken and Sonny Crockett -- we know better, even though it takes the leads the rest of the movie to get with the program.
In his previous, more juvenile outings, Sandler has displayed an innocent sweetness that undercut all the sophomoric shenanigans. Here, he relies almost too much on that quality, at times sacrificing some necessary edge that the script doesn't always provide.
As the virtuous-to-a-fault Julia, the always splendid Barrymore finds herself in a similar predicament, doing the best she can to give dimension to a character that has essentially been written as an ideal rather than as a full-fledged person.
Among the fine cast of supporting players, Alexis Arquette grabs some laughs as Sandler's Boy George-wannabe bandmate, and Allen Covert and Christine Taylor score points as the supportive best friends.
After a terrific start, the picture gets a little snagged in its perceptions of romantic-comedic conventions, going top-heavy on the former while seemingly all but forgetting about the latter. Fortunately, the screenplay (by Sandler and frequent collaborator Tim Herlihy) returns to its amusingly offbeat senses in time for the big finale.
Director Frank Coraci, meanwhile, has a nice feel for the comic elements. He never forces them but keeps things moving briskly forward (middle excepted).
The same crisp approach is taken by Tim Suhrstedt's cinematography; while production designer Perry Andelin Blake ("Leave It to Beaver") and costume designer Mona May ("Romy and Michele's High School Reunion") have a lot of fun with the period excesses.
Of course, the soundtrack is a character all its own, serving up not only the usual suspects (Police, Culture Club, the Cars) but also some guilty pleasures from the likes of Musical Youth ("Pass the Dutchie"), Nena ("99 Luftballons") and After the Fire ("Der Kommissar") that will make you forget junk bonds and Michael Jackson's altered skin tone ever happened.
THE WEDDING SINGER
New Line Cinema
A Robert Simonds/Brad Grey production
Director: Frank Coraci
Screenwriters: Adam Sandler, Tim Herlihy
Producers: Robert Simonds, Jack Giarraputo
Executive producers: Brad Grey, Sandy Wernick
Director of photography: Tim Suhrstedt
Production designer: Perry Andelin Blake
Editor: Tom Lewis
Costume designer: Mona May
Music: Teddy Castellucci
Music supervisor: Michael Dilbeck
Casting: Roger Mussenden
Color/stereo
Cast:
Robbie: Adam Sandler
Julia: Drew Barrymore
Holly: Christine Taylor
Sammy: Allen Covert
Linda: Angela Featherstone
Glenn: Mattew Glave
George: Alexis Arquette
Running time -- 97 minutes
MPAA rating: PG-13...
Now, thanks to Adam Sandler, he has been finally given his due in "The Wedding Singer", a (for the most part) winning romantic comedy that plays off of the performer's sweet, loopy personality.
Despite a saggy middle stymied by sappy good intentions, the picture still stands as Sandler's best effort.
Demographically, expect something of a trade-off. While all the lovey-dovey stuff might turn off some of his partying young male fans, the romantic theme and Valentine's weekend placement will win him a newly appreciative female contingent. Add a soundtrack bursting at the seams with blasts from the not-so-distant '80s past, and "The Wedding Singer" seems certain to make sweet boxoffice music for New Line.
The year is 1985 and Sandler is Robbie Hart, a struggling singer-songwriter trying to make ends meet as a musician/emcee for hire. While "Star Search" will never come knocking on his door, he gets the job done; that is, until his own intended betrothed (Angela Featherstone) abandons him at the altar.
Bitter and morose, Robbie's mood begins to affect his work, as evidenced by unforgettable renditions of Madonna's "Holiday" and the J. Geils Band's "Love Stinks", not to mention his tirades against innocent wedding guests.
But his downward spiral is halted by the nurturing presence of the lovely Julia (Drew Barrymore), a klutzy waitress who works at many of Robbie's functions. While Julia's planning to marry the smarmy Glenn (Matthew Glave) -- a thoroughly '80s combination of Michael Milken and Sonny Crockett -- we know better, even though it takes the leads the rest of the movie to get with the program.
In his previous, more juvenile outings, Sandler has displayed an innocent sweetness that undercut all the sophomoric shenanigans. Here, he relies almost too much on that quality, at times sacrificing some necessary edge that the script doesn't always provide.
As the virtuous-to-a-fault Julia, the always splendid Barrymore finds herself in a similar predicament, doing the best she can to give dimension to a character that has essentially been written as an ideal rather than as a full-fledged person.
Among the fine cast of supporting players, Alexis Arquette grabs some laughs as Sandler's Boy George-wannabe bandmate, and Allen Covert and Christine Taylor score points as the supportive best friends.
After a terrific start, the picture gets a little snagged in its perceptions of romantic-comedic conventions, going top-heavy on the former while seemingly all but forgetting about the latter. Fortunately, the screenplay (by Sandler and frequent collaborator Tim Herlihy) returns to its amusingly offbeat senses in time for the big finale.
Director Frank Coraci, meanwhile, has a nice feel for the comic elements. He never forces them but keeps things moving briskly forward (middle excepted).
The same crisp approach is taken by Tim Suhrstedt's cinematography; while production designer Perry Andelin Blake ("Leave It to Beaver") and costume designer Mona May ("Romy and Michele's High School Reunion") have a lot of fun with the period excesses.
Of course, the soundtrack is a character all its own, serving up not only the usual suspects (Police, Culture Club, the Cars) but also some guilty pleasures from the likes of Musical Youth ("Pass the Dutchie"), Nena ("99 Luftballons") and After the Fire ("Der Kommissar") that will make you forget junk bonds and Michael Jackson's altered skin tone ever happened.
THE WEDDING SINGER
New Line Cinema
A Robert Simonds/Brad Grey production
Director: Frank Coraci
Screenwriters: Adam Sandler, Tim Herlihy
Producers: Robert Simonds, Jack Giarraputo
Executive producers: Brad Grey, Sandy Wernick
Director of photography: Tim Suhrstedt
Production designer: Perry Andelin Blake
Editor: Tom Lewis
Costume designer: Mona May
Music: Teddy Castellucci
Music supervisor: Michael Dilbeck
Casting: Roger Mussenden
Color/stereo
Cast:
Robbie: Adam Sandler
Julia: Drew Barrymore
Holly: Christine Taylor
Sammy: Allen Covert
Linda: Angela Featherstone
Glenn: Mattew Glave
George: Alexis Arquette
Running time -- 97 minutes
MPAA rating: PG-13...
- 2/12/1998
- The Hollywood Reporter - Movie News
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