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'Jack and Jill': What the Critics Are Saying

Jack and Jill
Sony Pictures

Columbia’s comedy featuring a double dose of Adam Sandler received mainly unfavorable reviews, but critics did enjoy the numerous cameos by talented actors.

Jack and Jill, starring Adam Sandler as twin brother and, yes, sister, has not been feeling the love from critics, with a zero percent rating on Rotten Tomatoes from Top Critics on the day of its release, Nov. 11. The film, which also stars Katie Holmes, follows Jack (Sandler), a family man whose life is turned upside down when his twin sister (Sandler) arrives from out of town.

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Jack and Jill is witless and sloppily constructed, getting by on fart gags, homeless jokes, Latino stereotypes and that old favorite, explosive chimichanga diarrhea -- and no, not in an inspired Bridesmaids way,” wrote The Hollywood Reporter’s David Rooney. “Maybe there’s an audience for it, but they should be embarrassed.”

“On a scale of 1 to 10 on the laugh meter, Jack and Jill is a negative 10. A total bust, a stupefyingly unfunny and shamelessly lazy farce packed with cringe-worthy jokes and overt product placement,” wrote Peter Travers of Rolling Stone.

“Mr. Sandler, done up in frumpy, bargain-shopper drag as Jill, gives full and relentless voice to the woman-hatred that has always propelled his infantile shtick,” wrote The New York TimesA.O. Scott.

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“There are a few funny moments in Jack and Jill, most of them celebrity cameos that also serve to affirm what a cool, connected celebrity Mr. Sandler is,” added Scott.

“More than 24 hours has passed since I watched the new Adam Sandler movie Jack and Jill and I am still dead inside,” opened Mary Pols of Time Magazine.

“I can’t definitively say that this is the worst Adam Sandler movie ever made, having missed last summer’s Grown Ups, but it is certainly the worst I have ever seen. And I have always had a soft spot for Sandler,” Pols added.

FILM REVIEW: Jack and Jill

“It's tempting to view Sandler's double duty here, as annoyer and annoyed, as a grand comic riff on his life's work as seen by his critics,” wrote the Los Angeles TimesRobert Abele. “But that would charitably suggest a measure of humorous forethought typically absent from the A-lister's point-and-laugh approach to mockery and monastic belief that his raspy screaming — now in two flavors: high-pitched and higher-pitched — is inherently funny.”