The remainder of the film offers little more than the introduction. The most audible sound produced by me during the course of Grown Ups 2 was a stifled chortle at the sight of Jon Lovitz – and that was mainly due to me recalling his previous work. That or my subtle humming of Werewolves of London by Warren Zevon which I heard in the background of one scene.
The sheer inaneness of this shit is baffling. Sandler and co-writers Fred Wolf and Tim Herlihy attempt gag after gag but none of them hit. At one point, a congregation of wives and mothers at a yoga class all attempt to ‘hit on’ the “hawt” instructor. How inventive. Not only are the jokes they try and use wank, the thought that these women that have husbands and families and would throw it all away just to shag some above-average looking yogatwat was aggravating. That may sound dull and serious, but characterisations like that just insulting to people who genuinely enjoy comedy.
The plot, the characters, the humour are all non-existent. But luckily, deer piss, faeces and vomit are all existent! Yes, I made a faecal-based joke earlier, but it was aimed at Grown Ups 2, so I assume myself forgiven.
Culminating with a hundred-strong house party brawl at Sandler’s house, the film finishes pretty much where it started. It is a celebration of regression. I understand that the title is a witty, ironic statement on the characters being adults yet immature (get it?), but there is no pleasure, guilty nor non-guilty, to be derived from watching this abortive piece of filmmaking.
The best, and on the other hand worst, aspect of Grown Ups 2 is how it reminds you of the casts other work: Happy Gilmore, The Waterboy and The Wedding Singer for Sandler. The standup work by Rock. The Benchwarmers for Spade. And… well nothing for James because he’s a tubby, talentless twat.
Perhaps the best way to sum this film up, is through a clip from Sandler’s ’96 film Billy Madison. Paraphrase it yourself and you’ll see what I mean.
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