Adam Sandler delivers another quality comedic presentation as a mild mannered playboy who falls in love with a young local girl who has lost her short-term memory.
Review: Adam Sandler’s new offering is perhaps the best film in his string of dumbed down comedic work. Sandler teams up again with leading lady Drew Barrymore in what could be considered a classic re-uniting of “The Wedding Singer” duet.
50 First Dates features Sandler as a doctor (Henry Roth) who is looking to trade in his current marine biologist job on the beautiful island of Hawaii for the colder arctic regions of Alaska where he can study the inhabitants of its icy coastal waters.
In a rather typical story development, Roth has been leading a poly amorous lifestyle with various women who come to visit the beautiful tropical paradise, but he has never taken the opportunity to settle down and give up his wayward lifestyle. All that ends, however, when he meets Lucy (Barrymore), a compelling, mysterious young girl who lives on the island.
As Roth becomes interested in Lucy, he begins to realize that something is amiss as she cannot seem to remember him from day to day. What he comes to find out is that she suffers from short-term memory loss because of an accident that took place a year earlier. Her infirmity “resets” her mind each night, leaving her with no recollection of anything that happened the previous day. Up to the challenge and in true Adam Sandler, quirky fashion, he takes on the responsibility of pursuing a relationship with her despite the odds of success.
What is most appealing about Adam Sandler and his unique brand of storytelling is that his plot lines are largely driven by the quirky and implausible, and these features are what make his films enjoyable time after time. Undeniably the underdog in every one of his films, 50 First Dates takes a different approach by reversing the roles and placing
Barrymore’s character in the awkward position of the downtrodden (even though she does not know it) and Sandler as the angelic (with small horns and tail), knight in shining armor.
While this film does nothing to really extend or broaden the Sandler celluloid legacy, there are plenty of bright spots and comedic high points (involving sea lions and puke, no less). The onscreen chemistry between Barrymore and Sandler are solid, and consistent character development make this comedic love story one of the best in the Happy Madison line.