The third time in the director’s chair for writer Judd Apatow (“The 40-Year-Old Virgin” and “Knocked Up”) is not a charm, but rather a gigantic misfire. This vanity project is an opportunity for Apatow to stroll down memory lane where he started out doing stand-up comedy and writing jokes for famous comedians like Garry Shandling and Jim Carrey. He also gets to use his Hollywood clout to proudly show off his real-life wife, Leslie Mann, and their two daughters, Maude and Iris.

His lifelong good friend and former roommate Adam Sandler is the drawing card at the top of the marquee. He parlays the goodwill Sandler has built up over the years in more likable roles.

This darkly serious movie is a weird mix of humor and morbidity. George Simmons (Sandler) is a successful movie star and comedian. He is also a selfish jerk with no close friends. He has many acquaintances in the same line of work to chew the fat with, a staff of servants at his palatial mansion, a legion of diehard fans wanting photo ops and young women anxious to bed a celebrity.

His world gets turned upside down when the results of a blood test indicate he has a terminal disease similar to leukemia.

Ira Wright (a slimmed-down Seth Rogen who has shed over 20 pounds of fat) works behind a deli counter and has aspirations of becoming a famous stand-up comedian. He meets George by accident at an improv comedy club. George hires Ira to be his assistant, but he really needs him to be a friend and confidante as he seeks closure to his life.

The struggling Ira sleeps on a pull-out couch in an apartment he shares with his two more successful roommates Leo (Jonah Hill) and Mark (Jason Schwartzman).

George laments about Laura (Mann), the only woman he truly loved. They broke up 12 years ago after he cheated on her. Laura is now married to Australian businessman Clarke (Eric Bana) and has two daughters.

George reaches out to Laura, who takes pity on him. When experimental drugs cause George to go into remission, he sets his sights on a second chance at winning back Laura and breaking up her marriage.

A jumble of ideas seems to have been thrown together into a mishmash script that lacks a cohesive narrative. There is a lot of ad libbing and improvising that jerks the audience’s chains as the movie drags on for nearly two and a half hours.

The movie goes overboard with below-the-belt humor with an emphasis on the male genitalia. The movie is full of pop culture references and mentions titles of far superior movies.

There is not a single character in the entire movie worth caring about. The most genuine laughs come when the cast plays the peanut butter game. A person lies on the kitchen floor, spreads peanut butter on his or her face and has a dog lick it off.

Sandler seems uncomfortable and out of his element doing serious drama. He disguises his voice with strange accents meant to be funny. Mann has a beautiful smile that lights up a room. Her character makes some immoral, spur-of-the-moment decisions. She cheapens her image with unladylike gutter talk after extended exposure to Sandler’s character. Rogen is merely a second fiddle playing a gullible, nebbish individual. He is like the referee caught up in the lying, cheating, jealousy and bitterness between Sandler and Mann.

Cameo appearances are made by James Taylor, Sarah Silverman, Andy Dick, Ray Romano, Paul Reiser, Eminem and Norm MacDonald.

Rather than waste your time with this empty caloric dud, your better bet is to have a few alcoholic beverages while patronizing a local comedy club featuring up-and-coming stand-up comedians.

Review By:
Keith Cohen "The Movie Guy"

Review Below By:
Jolene Mendez of JoReviews.com

2 out of 4 Stars

Writer/director Judd Apatow (‘The 40-Year-Old Virgin’,’ Knocked Up’) is bringing his latest masterpiece to theatres this weekend. Apatow is quoted saying “I’m trying to make a very serious movie that is twice as funny as my other movies. Wish me luck!” In “Funny People” Apatow directs Adam Sandler, Seth Rogen and Leslie Mann in the story of a famous comedian who has a near-death experience. Luck seems to not be on his side as “Funny People” misses the mark.

George Simmons (Adam Sandler) is a very successful stand up comedian who is diagnosed with an untreatable blood disorder and given less than a year to live. Reliving his regrets in life and wanting to live out the rest of it to the fullest he returns to what makes him most happy, being on stage. There George meets Ira (Seth Rogen) a struggling comedian who is working at a deli while trying to discover his comical persona. By chance, these two perform at the same Improv club and George takes notice of Ira. George intrigued by Ira hires him to be his personal assistant and eventually his friend.

Ira becoming George’s friend turns out to be the best thing for his comedy as he begins to find his comfort zone on stage and becomes a stand out act on his own. While helping George with his medical struggles he insists he open up to others about his illness. Opening himself up to others helps George, especially when it comes to Laura (Leslie Mann). Laura is George’s one true love who he lost years back due to his catty ways. The reunion is rather strained, despite how much love is between the two, the future is grim as Laura is married with two children. As George moves forward with his comical act and gets great news on the health front he finds himself wanting Laura more than ever and drags Ira along for the ride.

“Funny People” contained all the right players, but the humor of the film was lost. During the first half it was a solid comedy, but the second half turned it into a double-feature. Going from a comedy to a romantic drama. Adam Sandler and Leslie Mann were upstaged by Seth Rogen who took front and center and showed a much improved performance since the dark comedy “Observe & Report”. Leslie Mann, a usual favorite of mine, was underused and did not add much comedy to the film. Apatow’s attempt at something lighter may have been better, had the run time been less or the film had steered in one direction. Potentially “Funny People” could have been an Apatow masterpiece, but at the midway point it loses its audience and can’t get back on track.