Wednesday, June 3, 2026

Adam Sandler’s New Movie Gets a Lowly 17% on Rotten Tomatoes

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Adam Sandler’s cavalcade of junk continues to add garbage to the film canon. His new one, called “That’s My Boy,” opens today with a lowly 17 on Rottentomatoes.com. Now he plays the deadbeat absentee dad of “Saturday Night Live” star Andy Samberg. This will the movie Samberg remembers as almost killing his exit from the comedy show. How does Sandler continue? And who is actually going to see these things, one after another, annoying, obnoxious, written for the brain dead? Even as we speak he’s shooting “GrownUps 2,” as if the first one hadn’t been plenty. The amazing thing is, no matter how bad they are, Sandler finds an audience for them. Last November his awful “Jack and Jill” still eked out $150 million worldwide. Granted, it showed some erosion of his box office, but those numbers aren’t bad. Five $100 million movies precede that one, all them gloriously stupid and imbecilic. It’s too bad, because Sandler is capable of doing better work. You’d think by now he’d be concerned more about a legacy than the money.

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Roger Friedman
Roger Friedmanhttps://www.showbiz411.com
Roger Friedman is the founder and editor-in-chief of Showbiz411. He wrote the FOX411 column on FoxNews.com from 1999 to 2009 and previously edited Fame magazine and wrote the "Intelligencer" column at New York magazine. His bylines have appeared in The New York Times, The Washington Post, the New York Daily News, the New York Post, Vogue, Details, and the Miami Herald. He is a voting member of the Critics Choice Awards (Film and Television branches), and his movie reviews are tracked by Rotten Tomatoes. is articles have appeared in dozens of publications over the years including New York Magazine, where he wrote the Intelligencer column in the mid 90s and covered the OJ Simpson trial, and Fox News (when it wasn't so crazy) where he covered Michael Jackson. With D.A. Pennebaker and Chris Hegedus, he co-produced the 2002 documentary "Only the Strong Survive," which screened at Directors' Fortnight at the Cannes Film Festival.

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