There is a scene in Adam Sandler's new comedy Click that at once emphasizes not only what a jerk Sandler's protagonist Michael Newman has become in his quest for power, but also the ultimate flaw of the film. A father's son and daughter, no more than 8-years-old, (played earnestly by child actors Joseph Castanon and Tatum McCann) run up to daddy late one night and show him their crudely drawn Crayola colored houses as designs for daddy's upcoming architecture project. Sandler, as the adult at this point, could do one of two things: he could sweetly thank his kids for trying to offer assistance beyond their capacity or he could insult their work, scold them and tell them how the "real world" functions. He chooses the second option in an unsettling scene that's meant to convey anger, grief and how obsessive Michael Newman is becoming in his life lust for more money more quickly.

In the real world, Adam Sandler has a lot of money and fame and has received it at a relatively fast pace. Why he has achieved such overwhelming success is of course, always open to debate. He does not have the charm of Jack Black, the manic edge of Jim Carrey or the wit of Will Ferrell. He does possess a lot of rage as well as a certain Peter Pan syndrome, that doesn't allow him to mature past the juvenile effusions he made famous on Saturday Night Live.

Well, in his latest film he tries to grow up. Perhaps still feeling pensive after starring in Paul Thomas Anderson's Punch Drunk Love, in which he used his characteristic rage to dramatic effect, it should be noted that with Click Sandler is attempting to act his age and give his audience a little more to think about than just booby jokes. That's not to say that there's a shortage of booby jokes--in fact, this film had more cleavage baring, well-endowed women than any movie you'll probably see this summer. It also manages to work in a lot of ethnic stereotypes and inexplicable SNL whims into two hours of a thin guise of a plot. (i.e. a minor female character has a sex change and becomes a man. Oh. Heh)

The plotline in Clickis perversely simplistic. Michael Newman is a workaholic family man who finds a universal remote that allows him to rewind, pause, mute and fast forward his life. Only the better moments in life are worth sitting through, right? But complications arise, as in all technology, and he gets more than he bargained for out of this "non-returnable remote." Sounds familiar? Well, not really...there is no true explanation for all this madness by screenwriter Steve Koren and Mark O'Keefe. As usual, when a creative team can't think of a novel idea, they resort to employing resident movie villain Christopher Walken who can make anything seem devious regardless of conception.

In short attention-span entertainment programs like Saturday Night Live, the surrealism can work. After all, we can always click over to Mad TV if a particular sketch doesn't seem to be working. Unfortunately in Click, there is no remote and we are forced to sit through two hours of the best of Adam Sandler. We get to see him be a jerk. We get to see him giggle and make cruel jokes. We get to see him act cuddly and apologetic. We see him goof on the Incredible Hulk and boldly admit his problems with premature ejaculation. (At least, Michael Newman's problems)

Yes, we even see him cry. At the heart of Click is a halfhearted commentary on workaholics and the brevity of life. There are some scenes towards the end of the film that deliver solid dramatic performances by Sandler, Henry Winkler, Jake Hoffman and Kate Beckinsale. It is at this point where one begins to see the effort Sandler is putting forth in his post Punch Drunk Love career. (Yes, acting can be fun and meaningful. Tell your friends Rob Schneider Mike Myers, David Spade and if he'll listen, Eddie Murphy)

However, there is no proper buildup to these meaningful moments--the rest of the film is merely a collection of unfunny Sandler rants, throwaway jokes, and man-child snickering. Perfect for Saturday Night Live but a trial for a moviegoers expecting a little bit more intricacy.

Yes, this reviewer could sweetly thank Sandler for trying to make a poignant commentary on materialism that was simply beyond his capacity. But Michael Newman's pathos is drawn in Crayola and it stinks. It doesn't cut it in the real film world. Grade: D+