In the early stages of Adam Sandler’s partnership with Netflix, the results were less than impressive, showcasing a series of uninspired comedies such as “The Ridiculous 6,” “The Do-Over,” and “Sandy Wexler.” However, as Sandler has evolved, so too has his approach to filmmaking. Alongside his efforts to engage with more sophisticated dramatic narratives, his production company, Happy Madison, has also struck a chord by creating feel-good content that avoids being overly saccharine.
His animated feature “Leo” demonstrated genuine warmth and insight, while his role in the endearing basketball film “Hustle” garnered critical acclaim, leaving many to view his absence from the Oscar nominations as an unfortunate oversight. The 2023 coming-of-age comedy “You Are So Not Invited to My Bat Mitzvah” has revealed the potential direction for Happy Madison, as it aims to support a younger generation of filmmakers eager to tell authentic stories about teenagers without resorting to clichés. Featuring roles for his family members—including his wife and two daughters—this film could have been perceived as an example of nepotism in Hollywood, yet it ultimately succeeded, and his eldest daughter Sadie has also landed a part in the lesser-known college comedy “Roommates.”
It has become a common tactic for studios to withhold films from critics, especially when they have concerns about quality. Over the years, I have encountered several such films, including the lackluster AI horror “AfrAId,” the mediocre holiday comedy “Dear Santa,” and the unimpressive action thriller “Anna.” However, the decision to keep “Roommates” under wraps is perplexing; although it is not without its flaws, it possesses sufficient merit to attract early supporters. Given the current low standards for comedies, particularly in the teen and streaming categories, “Roommates” deserves greater recognition rather than being quietly dismissed.
The film unfolds in a manner reminiscent of “The War of the Roses,” narrated by SNL’s Sarah Sherman in the role of a college dean. While it may not delve as deeply or veer into as harsh territory as last year’s disappointing remake, it presents a more compelling narrative about a friendship gone awry. The central focus is on Devon (Sandler) and Celeste (Chloe East), whose relationship deteriorates from friendship to enmity throughout their freshman year as roommates. Devon is portrayed as a character who, while not a social outcast in high school, struggles to find her place and is often overlooked by her peers. In contrast, Celeste exudes a captivating charm that draws others in, and as Devon confides in her closeted gay brother (played by newcomer Aidan Langford, who adds a touching subplot), she yearns for a close friendship.
The screenplay by SNL writers Jimmy Fowlie and Ceara O’Sullivan skillfully depicts the gradual unraveling of their relationship, propelled by relatable incidents rather than overt drama—such as an unfulfilled Venmo request, a possibly questionable Instagram story, and a revealing poem. This subtle tension echoed the dynamic disintegration of friendships seen in the acclaimed series “Insecure,” where the complexities of relationships are explored without clearly assigning blame. My engagement with the film’s narrative made the eventual turning point feel somewhat cliché, as it shifted toward a more conventional hero-versus-villain dynamic, edging the story into darker territory.
The film navigates a tension between the expected and the unique, as well as the relatable and the absurd. Although it generally stays on the right path, it occasionally falls into familiar pitfalls—such as a scene involving an exploding turkey that feels predictable. It seems as if Sandler’s dual nature as a producer is at odds, with the film’s crudeness being more organically woven into the narrative rather than serving as a gimmick for attention. The filmmakers would benefit from placing greater emphasis on the nuanced details rather than relying on broader comedic elements. The performances of the lead actors enhance the film’s authenticity; Sandler portrays the awkward, rule-abiding character with his natural charm, while East embodies the enigmatic, alluring cool girl with impressive versatility. Although director Chandler Levack’s direction may lack a touch of dynamism, she allows her actors to shine without distraction. While some cameos could have been trimmed, Nick Kroll and Natasha Lyonne provide refreshingly grounded portrayals as the parents.
Though “Roommates” may not reach the heights of iconic teen films that it nods to, such as “Clueless,” or those it draws inspiration from, like “Mean Girls,” it certainly stands apart from the majority of content currently available. Perhaps it’s time for Netflix to acknowledge this.
“Roommates” is currently streaming on Netflix.
