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1 3 get laughs
Big Daddy less than memorable
By Patrice Miner
Staff writer
In his latest movie, Adam Sandler
loves it when you call him Big Poppa.
“Big Daddy” stars Sandler in his
first human interest role since “The
Wedding Singer.” Still, the film has
moments of toilet humor that even
Billy Madison himself wouldn’t have
attempted.
“Big Daddy” revolves around the
trials of Sandler’s character, Sonny
Koufax, a law school graduate turned
toll-booth collector who is attempting
to raise 5-year-old boy, Julian, played
by twins Cole and Dylan Spouse.
Koufax instructs the young lad the
basic lessons of life, such as urinating
on buildings, throwing sticks in front
passing rollerbladers and the greatest
lesson of all, that initiating conversa
tion with women is half the battle.
Unfortunately for little Julian,
Sonny is able to teach him little about
being an upstanding citizen. Instead,
Sonny’s main goal is to show his girl
friend (Kristy Swanson) that he is
capable of taking responsibility.
Although Julian’s strange sleeping
patterns and proficiency to vomit first
annoy Sonny, he soon finds peace with
the child even after his love interest
inevitably rejects him.
The story soon evolves to the
accustomed theme brought to all of
Sandler’s movies, as Sonny looks for
his life’s calling so he can find some
inner peace.
Unfortunately, many of the jokes
used in the process either aren't very
funny or were shown in the theatrical
previews. Sandler, instead, uses emo
tional moments similar to “The
Wedding Singer” to keep the audience
interested. Sandler isn’t the best actor
around, but he is certainly believable
as the last schmuck on Earth who
should adopt a child.
Because of this, his attempts to
persuade the crowd with a taste of
melancholy are actually valid.
However, those who view “Big
The Facts j|§
TWe: "Big Daddy*
Stare: Adam Sandler, Joey Lauren
Adams, Cole and Dylan Sprouse
Director: Dennis Dugan
Rating: PG-13 (language)
Running Time: 1:35 (95 minutes)
Grade: C+
Five Words: Sandler tries acting, less
funny
Daddy” to see Sandler injure some
one, ala “Happy Gilmore” may leave
disappointed.
Nevertheless, “Big Daddy” throws
in some Sandler film veterans for
comic relief, as former football team
mates from the “The Waterboy” are
now Sonny’s new lawyer friends.
Steve Buscemi returns with another
off-the-wall role, this time as the
homeless guy.
In the end, the film evolves into a
nice little story that is neither hilarious
nor memorable. As a Sandler experi
ence, however, it was just interesting
to see what he would do next.
^MDS Harris
Together, We're Making Lives Better
621 Rose Street, Lincoln
www.mdsharris.com/rcrt/recruit.htm
DiFranco, Parker
set to folk V funk
By Patrick Kelly
Music Critic
Technicolor hair is her crown, an
acoustic guitar is her scepter and the
stage is where she holds court. Ani
DiFranco, the queen of independent
rock, will perform at the Ranch
Bowl in Omaha on Friday July 2.
DiFranco’s role in modem music
is a pivotal one. In the past seven
years she has stood as a role model
of feminism even before the advent
of the Lillith Fair. Her body of work
including the albums “Living In
Clips”, “Little Plastic Castles” and
“Up Up Up Up Up Up” have
become legendary in the world of
college music. Her blend of political
consciousness and sexual awareness
culminate to form a brand of soulful
folk music that cannot be classified.
Whether she likes it or not, Ani
DiFranco has become one of the
music world’s hottest tickets.
DiFranco has received accolades
from many music critics from
Rolling Stone to Spin to Guitar
Player. She has appeared on “Late
Night With David Letterman” and
VH-1 ’s “Hard Rock Live.”
While the singer may instantly
be remembered for her appearance:
multi-colored hair, nose ring and an
abundance of tattoos, she will ulti
mately be remembered for her
showmanship. DiFranco’s broad
vocalrange combined with the inno
vative rhythm of her guitar strum
ming give her a sound that is entirely
her own.
Not only does DiFranco take a
counter-culture approach to her
music, but the distribution of her
work also challenges the music
industry. Despite offers from major
labels DiFranco releases her albums
on her own label, Righteous Babe
Records owing to her hatred of large
corporations.
In the past seven years her music
has become a cottage industry in her
home town of Buffalo, New York.
The sales of her records are helping
to revitalize the city’s suffering econ
omy.
The hard-times that the city of
Buffalo has endured made an indeli
ble impression on DiFranco.
In turn, DiFranco has taken her
personal turmoil and related it to her
audience. Whatever the cause, Ani
DiFranco will raise her voice.
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