By Sonny Bunch, Special To The Washington Post
Of all the Internet Smart Set’s various deficiencies, the adolescent need to sneer at the impoverished taste of the masses is among the most grating. And nowhere is it more grating than when the works of Adam Sandler are under discussion.
Now, to be clear, it’s not all Adam Sandler movies we are meant to mock. The critical corps and the movie bloggers have given us permission to praise “Punch-Drunk Love” (mostly because it’s directed by one of our darlings, Paul Thomas Anderson) and “Spanglish”; sometimes we can show our appreciation for Judd Apatow’s “Funny People,” so long as we note and approve of the fact that Sandler is mocking his own career and his penchant for doing high-concept crap while also highlighting Apatow’s sexism or self-centeredness, or some other deficiency.
While there’s some appreciation for his early outré oeuvre, especially amongst those of us who were in middle school with “Happy Gilmore” and “Billy Madison” were hitting multiplexes, his later, sillier works — films such as “Just Go With It” and “Click” and “Grown Ups” and “Pixels” and “Blended” — are, generally speaking, haughtily dismissed. Meanwhile, the films that have come from the deal he made with Netflix to produce original content — “The Ridiculous Six” and “The Do-Over” and “Sandy Wexler,” among others — are actively despised.
Needless to say, there was much outrage and horror when Netflix revealed just how much Sandler