Genre: Comedy , Drama , Romance
Play time: 1h 47min
Director: Frank Coraci
Screenwriters: Steve Koren
Starring: Adam Sandler, Kate Beckinsale, Christopher Walken
Click is a film populated by idiots. That makes it exceedingly unsympathetic, not to mention irritating. To make matters worse, Click pounds the audience with its idiocy, inexplicably thinking that it is funny. There is a good movie to be made from this conceit, a smart, sad, amusing one, but this isn’t that movie. Even Bruce Almighty was not quite this much of a waste.
Click (2006): Remote Doing Wonders With Time Traveling Capabilities
As is true for nearly all of Adam Sandler’s films, the plot can be described in one sentence: a man gets a universal remote control that controls not only all of his home electronics, but his entire universe. He can pause, control the volume, fast forward, rewind, access bonus features, and virtually anything else you can do to a television combined with a DVD player or a TiVo. Of course, this is peppered with a few contrivances that make the screenplay easier to write: for example, he can fast-forward and zap to any point in his future, but if he tries to rewind he can only look on from the sidelines rather than actually relive moments from his life. What happens to the time he skips? He goes on “autopilot,” which is described as a sort of semi-conscious zombie-like state, though that doesn’t stop him from skipping entire decades; the only consequence is that everyone starts thinking he’s a jerk.
Adam Sandler as Michael Newman in Click Movie
The man who gets his hands on this remarkable device is Michael Newman (Sandler), an up-and-coming architect (aren’t they all?) who, in an effort to earn a coveted promotion, has become a workaholic with — all together now — no time for his beautiful, frustrated wife (Kate Beckinsale) and their kids. He gets it from the “Way Beyond” section of Bed, Bath and Beyond (a joke, I am told, blatantly lifted from the television show Family Guy), where a typically enigmatic Christopher Walken holds court. The remote control is free, Michael is told, and absolutely not returnable.
Once Michael discovers the thing’s secret, what does he do? Not surprisingly, his approach is similar to Jim Carrey’s discovering that he is God in Bruce Almighty. In that film, Carrey’s character used his newfound powers to enlarge his wife’s breasts, played, up to a point, by Jennifer Aniston’s breasts. Not to be outdone, Michael puts the universe in slow motion so that he can prolong the sensation of watching a busty woman run by. When he’s not doing that, he uses the remote control to fast-forward through fights, getting dressed, and, inexplicably, sex. Most of this he does so that he can get to his work, which promises to make or break his career. Since everything he fast-forwards through seems to be done to his satisfaction, one wonders why he doesn’t fast-forward through the work to get to the sex, but that assumes a level of rationality our protagonist simply does not possess.
Fast Forwarding Somes Can Be Bad
Once Michael starts rampantly fast-forwarding, at first by his own volition and later at the behest of the infernal gadget, his idiocy becomes still more apparent. Each time he knows he’s been transported into the future, and each time he acts like a complete jackass. It never seems to occur to him that someone in his house he doesn’t recognize could be, for example, one of his children all grown up; every time he asks who the hell the person is, usually launching into a lengthy, astonished argument. This doesn’t just happen once or twice but every time – I didn’t count, but more than a dozen, I’m sure. I wanted to punch him in the face.
Look, I am aware that Adam Sandler characters aren’t known for their shrewdness. I know, too, the “kind of movie” this is — one with fart jokes and David Hasselhoff, one in which Rachel Dratch undergoes a sex change. But at the same time, annoying is annoying, and I came to hate the moron main character in a way that interfered with the fart jokes and the David Hasselhoff (who is actually quite good as Sandler’s weaselly boss). Nor does it help matters when Click transitions into its amped up third act, which demands that you begin weeping uncontrollably, but doesn’t earn it.
Click (2006) Could Have a Better Film Direction
I had the overwhelming temptation to rewrite Click, or at least to try. It’s hollow, hackish, butchering every cliche in the book; there is absolutely no reason to see it. Sandler, who apparently poured his heart and soul into this project, has absolutely no idea what works emotionally and what is silly or cringeworthy. This is the second time that he has tried to imitate Capra, but he couldn’t get farther away from the man before coming back. The only thing about this movie I didn’t hate was Hasselhoff.