VAN NOVACK:Juvenile productions continue

Adam Sandler is probably the most consistent actor in Hollywood. That is, he is universally despised by the critics yet nearly all his movies enjoy tremendous financial success.

His most recent effort, “I Now Pronounce You Chuck and Larry,” is seemingly no exception. Despite receiving negative reviews from more than 80% of film critics nationally, “Chuck and Larry” made its debut as the No. 1 film in the nation, beating out even the latest “Harry Potter” movie.

Perhaps the negative reviews are due to the key plot element: the squirming experienced by two straight, macho types (firemen in this case) when they are confronted by openly gay men. This would seem somewhat of an affront to modern sensibilities, but is probably not of concern to Sandler’s core audience.

The setup to “Chuck and Larry” is that fireman Larry Valentine (Kevin James), a widower with two children, will not be able to provide for his kids if he should perish on the job. In his grief over the loss of his wife, he forgot to change his life insurance beneficiary before the one-year deadline had passed. Unless Larry remarries or experiences another significant life event, he cannot correct the situation. After he saves fellow firefighter Chuck Levine’s life (played by Sandler), Larry proposes a sham domestic-partnership arrangement.

This flimsy premise provides the setup to a series of homophobic jokes and situations that are often funny but sometimes just squirm-inducing.

It is Chuck and Larry’s intent to keep this arrangement a secret, but this becomes impossible once the pension board launches a fraud investigation. And stepping in to assist the two firefighters is gay-friendly — and beautiful — lawyer Alex McDonough, played by Jessica Biel.

The film does have some funny moments and some surprising casting and cameos by Dan Ankroyd, Richard Chamberlin, Ving Rhames, Steve Buscemi, and Lance Bass.

However, Rob Schneider establishes a new low with his over-the-top Asian minister which is horribly reminiscent of Mickey Rooney’s embarrassing turn in “Breakfast at Tiffany’s.”

The biggest problem with “Chuck and Larry” is that the producers want it both ways. The film is content to pull out every tired gay joke and cliché, but spends the last few minutes pontificating about acceptance and tolerance.

While “Chuck and Larry” will be offensive to many, I’m sure this doesn’t matter to Sandler’s legions of fans. As long as audiences keep paying, he will continue to produce and star in these juvenile productions.