Spanglish

I am a big fan of "sandlerovky", comedies that are sometimes even too crazy, but often have a more serious subtext. This comedy may not even fit into typical sandlerovky, because there is a strong romantic element with a focus on the theme of family, marriage, and relationships between people. I definitely didn't laugh as much as I did at Anger Management, but I am satisfied. Paz Vega is still as charming as ever in Sex and Lucía. (2007-07-24)

It definitely wasn’t “quick and easy” for me to get around to watching this movie. I’d wanted to see it since it came out, but somehow it kept slipping past me on TV, and I’d forget about it. Seven years later, I finally watched it. Back then, I was mainly drawn in by Adam Sandler—his humor just clicks with me, and I’ve enjoyed almost all of his films. I was pleasantly surprised that this one wasn’t dumb at all, and Sandler didn’t play his usual goofy character—instead, he showed a more serious side. Over time, my reasons for wanting to watch shifted a bit, with Paz Vega becoming the main draw. And when I finally did see it, I really enjoyed the film. It didn’t end like a typical rom-com, which I appreciated. There was a sense of realness to it—a reflection on life, its challenges, and even that emptiness we all feel at times. The film was beautifully done, and despite a few odd scenes I didn’t fully agree with, I was pretty satisfied. Adam Sandler once again proves he’s more than just a comedy guy, and Paz Vega shines, bringing such natural beauty and charm to her role. What I loved most was how the movie explored the cultural differences between two worlds and did so in a truly beautiful way. Sometimes, we just get lucky in life—we find people who understand our souls, or rather, whose souls we connect with. Without them, life wouldn’t be nearly as bearable. (2011-07-31)

Spanglish is an emotionally engaging dramedy with excellent actors and a lot of heartwarming moments. But with its 130-minute runtime, it’s too long, which isn’t helped by its meandering plot and spatial monotony (constant sitcom interiors). Brooks should have pared it down and focused only on the positive influence that the two female visitors have on the running of a complicated American family. The conscientiousness of the female protagonist, who steadfastly wants to protect her daughter from Americanism, is inappropriately woven into this storyline and only slows the whole film down, though the climax, which relates to that idea, is nice. (2005-07-05)