Life in fast-forward

Click (2006)
Columbia Pictures presents a Frank Coraci film, starring Adam Sandler and Christopher Walken. Written by Steve Koren and Mark O’Keefe. 98m. PG-13 for language, crude and sex-related humor, and some drug references.

2.5 stars

Lionel Barrymore never had to suffer the indignity of Jimmy Stewart passing gas in his face, unless there’s a lost scene of “It’s A Wonderful Life” that has yet to be unearthed.

Adam Sandler resorts to prolonged bouts of flatulence, because his cinematic modus operandi is that of a schoolyard bully. Lacking the energy required to express his varying dispositions, the comedian has always short-changed the sustainable humor for the quick laugh.

I’ve reviewed at least five of Sandler’s movies and assigned a multitude of different grades. The one consistency has been a running discourse on the comedian’s fascination with scatological humor, an observation I pray one day I won’t have to write about.

Yet after all the aborted bowel movements in “Click,” I found myself stirred by the film’s surprising heart. It was a completely unexpected emotion, realized as the film transitioned from low-brow comedy to family-friendly drama, all while it borrowed liberally from the aforementioned Frank Capra classic.

Aye, there are hints of familial altruism in Michael Newman (Sandler), although they are often shrouded by his workaholic temperament. In an effort to provide a comfortable life for his coquettish wife (Kate Beckinsale) and two children, Michael forgot to have one of his own.

Michael’s long hours and lack of positive attention from his self-absorbed boss (David Hasselhoff) are finally taken out on the family’s remote control. This necessitates a late night venture to (and shameless extended advertisement for) Bed, Bath & Beyond, where a peculiar inventor (Christopher Walken) has manufactured a fantastical remote control that “controls your universe.”

Michael, naturally, is the worst possible choice for the clicker - which can fast forward through less desirable portions of his life - mostly because of his terrible intuition on what should be skipped.

As Michael realizes far too late, life is a celebration of little moments – and I don’t mean those slow-motion shots of a buxom beauty jogging in his neighborhood. By engaging the auto-pilot, he alienates the very people who comprise a worthwhile existence.

Sandler owns a near monopoly on his cherished character, which supplements poo jokes with an occasional manic episode of uncontrolled rage. But as the comedian nears 40, the persona has been toned down slightly. Sandler’s films appear to cater more and more to families than fraternities.

And what better choice than “Click,” which itself is a re-tread of well-tested “family first” parables like “The Family Man” and “Christmas Carol”? There are even significant allusions to “Bruce Almighty,” which should surprise no one, since the principal screenwriters of “Click” were also credited with writing that Jim Carrey vehicle.

I don’t really think Sandler audiences really care if they witness variations on a familiar theme. Part of the joy of his films, for example, is to see which “Saturday Night Live” alumnus can make the most impressive cameo (my pick is Rachel Dratch as a homely administrative assistant with a bashful bladder).

“Click” may not end up in the top ten of anyone’s year end list, but it should be considered proof of Sandler’s generally improving taste. In his next film, “Empire City,” he portrays a man grieving over the loss of his family in the Sept. 11 attacks. Mostly, I feel hope; this could be my opportunity to a review free of scatological rehash.