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The article reviews the motion picture "That's My Boy," starring Andy Samberg and Adam Sandler.

The article reviews several television programs and motion pictures including "Big Daddy," a film starring Adam Sandler, "The L Word," on Showtime and "Being John Malkovich," a film starring John Cusack and Cameron Diaz.

The article reviews several television programs and films, including "Bionic Woman," starring Michelle Ryan, "The Wedding Singer," starring Adam Sandler and "Heroes."

The article reviews several films including "Reign Over Me," directed by Mike Binder and starring Adam Sandler and Don Cheadle, "Shooter," starring Mark Wahlberg, and "Pride," starring Bernie Mac and Terrence Howard.

This article reviews several films, including "Road to Guantanamo," co-directed by Michael Winterbottom and Mat Whitecross, "Wordplay," a documentary by Patrick Creadon, and "Click" starring Adam Sandler.

The article reviews the film "Hotel Transylvania," featuring the voices of Adam Sandler, Selena Gomez and Kevin James.

The reluctance -- or outright refusal -- of ostensibly grown men to behave like adults is more than just a favored theme of modern movie comedy. It is an axiom, a principle, a worldview. The varieties of male immaturity seem almost infinite, even if the guys on screen are almost always white, middle class and at least presumptively, if not always successfully, heterosexual. Each of these man-children offers his own special blend of innocence and id, balancing the pitiable traits of slackness and aggression with more appealing qualities of sweetness and honesty. But Jason Segel is special. Oh, I know, they're all special, including Adam Sandler, the puerile granddaddy of them all. Still, Mr. Segel, playing the title character in Jay and Mark Duplass's ''Jeff, Who Lives at Home,'' is, at least, an unusually gentle and dreamy specimen. [ABSTRACT FROM AUTHOR]

The continued success of Adam Sandler -- the audiences who flocked to ''Grown Ups'' can be counted on to show up for his new one, ''Jack and Jill'' -- proves that everyone loves a sore winner. Back in the 1990s, when he was consolidating his stardom and working his id in epochal comedies like ''Billy Madison'' and ''The Waterboy,'' Mr. Sandler's puerile aggression had a naughty, anti-authoritarian kick. His genial hostility was a grinning rebuke to propriety, his brattiness a breath of fresh air in a prim and anxious culture. But now that he has settled into grumpy, dumpy middle age (it takes one to know one is all I'm saying), Mr. Sandler's comedy shows signs of curdling. His most recent feature-length gags are tantrums of entitlement. In ''Jack and Jill,'' as in ''Grown Ups'' (both directed by Dennis Dugan), he plays a guy with a more or less perfect life -- cute kids, cool job, big house, hot wife -- who is grievously annoyed by people variously defined as losers. This expansive category includes anyone who can be mocked for reasons of hygiene, physical appearance or ethnic background, though at the last minute, just to prove what a nice guy he is, Mr. Sandler will substitute condescension for contempt. [ABSTRACT FROM AUTHOR]

IN ''Funny People,'' the new movie starring Adam Sandler, the audience is treated to glimpses of a movie starring Mr. Sandler's character, a stand-up comedian turned movie star named George Simmons. The film within a film, which looks like a variation on the venerable ''Look Who's Talking'' theme, features George's head digitally superimposed on the body of an infant, an effect that is both grotesque and funny, and also pregnant with cultural significance. It's obvious that the image of a baby with Adam Sandler's face self-mockingly encapsulates much of Mr. Sandler's career, pointing up his curious and durable overgrown-child appeal. And it is also clear that the film's writer and director, Judd Apatow, is lampooning some aspects of his own work, which has shamelessly exploited (though it has also earnestly explored) the juvenile, even infantile impulses that seem to define the soul of the modern male American. [ABSTRACT FROM PUBLISHER]

''Funny People'' sputtered at the weekend box office, weakening Judd Apatow's batting average as a director and continuing a slump at Universal Pictures. The movie, a two-and-a-half-hour look at stand-up comedians, one of whom is dying (Adam Sandler), sold an estimated $23.4 million in tickets at North American theaters over the weekend, according to box office tracking services. [ABSTRACT FROM PUBLISHER]

Adam Sandler is at that difficult age. Now 42, he's too old to continue with the bungling, man-child shtick of yore, yet too young to transition to old-fogey infantilism. In ''Bedtime Stories'' the pain of this artistic limbo is written all over his character, a resentful hotel handyman named Skeeter. Astonishingly, his name is not the source of his umbrage. Skeeter's pique (though he may not know it) is reserved for his dead father, an inept businessman whose cozy motel once occupied the lot where Skeeter's current employer has erected an upscale resort. Gone, along with the homespun vibe, is Skeeter's dream of one day running the property; so when his divorced sister, Wendy (a frighteningly taut Courteney Cox), asks him to baby-sit for his young niece and nephew (Laura Ann Kesling and Jonathan Morgan Heit) for a few days, Skeeter is in no mood to play scallywag uncle. [ABSTRACT FROM PUBLISHER]

Let me be blunt: ''You Don't Mess With the Zohan'' is the finest post-Zionist action-hairdressing sex comedy I have ever seen. That it is the only one I have ever seen -- and why is that? what cultural deficiency or ideological conspiracy has prevented this genre from flourishing? -- does not much detract from my judgment. Directed by Dennis Dugan from a script by Judd Apatow, Robert Smigel and Adam Sandler (who also stars), ''Zohan'' has its share of scatology, crude sexual humor and queasy homophobia, the basic elements from which male-centered Hollywood comedies are constructed these days. There are supporting roles for stand-up comedians (Ahmed Ahmed, Nick Swardson) and ''Saturday Night Live'' veterans (Rob Schneider, Kevin Nealon), a few oddball cameos (Shelley Berman, Chris Rock) and exquisitely random ''as themselves'' appearances by John McEnroe and Mariah Carey. Why not? Less amusingly, there are also some lumpy computer-assisted special effects, an overstuffed plot and a scattering of awkwardly executed gags. But a lot of the crude bodily-function jokes are actually pretty funny, not least because they are supplemented by more hummus-based humor than you might have thought possible. [ABSTRACT FROM PUBLISHER]

Reviws the motion picture "Groundhog Day," starring Drew Barrymore and Adam Sandler.

Reviews several motion pictures. "The Return," directed by Andrey Zvyagintsev; "50 First Dates," starring Adam Sandler and Drew Barrymore; "La Mentale: The Code," directed by Manuel Boursinhac and starring Samuel Le Bihan; "Touching the Void," directed by Kevin MacDonald and adapted from Joe Simpson's book; DVD recommendation for "The Mirror."

Discusses the motion picture 'Anger Management,' starring actors Jack Nicholson and Adam Sandler. How Sandler portrays a soft-spoken advertising executive who has an altercation on an airplane; Suggestion that the movie is predictable.