Film

The Waterboy (1998): Blu-ray


The Waterboy

Director: Frank Coraci
Cast: Adam Sandler, Kathy Bates, Fairuza Balk, Henry Winkler, Jerry Reed
Distributor: Touchstone Home Entertainment
Studio: Touchstone Pictures
UK Release Date: 2009-08-04
US Release Date: 2009-08-04

Who is the real Adam Sandler? Is he the bitter, angry superstar that's depicted in the recent Judd Apatow "dramedy" Funny People? Or is he "The Stud Boy", the inherently goofy sidekick that stole almost every episode of MTV's '80s trivia game show Remote Control? Somewhere in between Little Nicky and Punch-drunk Love, Spanglish and Happy Gilmore lies the answer, apparently. Unfortunately, the general public only seems to respond to him when he's infantile, cartoonish, and borderline brain dead. Take The Waterboy for example. It represents one of the former SNL and stand-up's biggest hits. It also contains one of his most insane performances ever. Yet when one looks closely at the film itself, it's obvious why it succeeded…and it has much more to do with sports than with scatological humor.

Sandler plays Bobby Boucher, a local Louisiana bayou dimwit whose meddling mother believes that everything is "from the devil". As a result, her aging son has led a very sheltered life. Bobby has become the 'waterboy' for his small town's college football team and he thoroughly loves what he does. Even though he's constantly mocked by the players, he vows to deliver nothing but "high quality H2O" to the guys. One day, Bobby shows off some prodigious tackling skills, and the team's coach, desperate for something to jumpstart his squad's fortunes, puts him on the roster. Soon, our liquid loving loser is the talk of the NCAA. He even recaptures the eye of resident bad girl Vicki Vallencourt. Still, Bobby's momma doesn't believe in organized sports and she's ready to put the kibosh on his career - right before the big championship game against an arch rival, naturally.

The Waterboy is about as mainstream as Adam Sandler gets. If you discount his recent forays into family film (Bedtime Stories) and semi-serious drama (Reign Over Me), the king of goofball juvenilia is actually working rather crackpot free here. Sure, Bobby Boucher is all vocal mannerism and silent comedy composure, but the truth is that, for once, Sandler is letting the story and the situation drive the funny business. This is a standard sports movie, the last act game giving rise to all the character's hopes, dreams, and dimensions. Without the national title on the line, Bobby's rise in the football ranks wouldn’t matter, his coach's vendetta with the opposing team wouldn't count, and Mama Boucher's ridiculous superstitions would be invalid as a plot point. But with the filmic formula in place, everything about The Waterboy takes on a far more meaningful bent.

Of course, all comedies are judged on laughs, and this movie has some good ones. Sandler really does milk Bobby's bumbling persona, to the point where we actually think we are witnessing a real performance instead of some superstar stunt party trick. As with most of his slightly surreal creations however, our hero lapses once in a while. Good thing costars like Oscar winner Kathy Bates, ex-Fonz Henry Winkler, and the blazing Fairuza Balk are along for the ride. They remedy some of the situations where Sandler seems lost and directionless. They never drop their given guard, taking their broadly drawn caricatures to their own silly cinematic ends. As usual, they are accented by Sandler's standard array of comic compatriot oddballs, everyone from the omnipresent Rob Schneider to Clint Howard, Blake Clark, and Allen Covert.

But the real unsung hero here is director Frank Coraci. Having worked with Sandler before on the equally efficient Wedding Singer, this is one comedy filmmaker who realizes that a real work of wit is more than just a string of clever skits stitched together with exposition. Borrowing heavily from the Rudy/Hoosiers archetype, Coraci actually gets us to care about the outcome of the game, whether Bobby will end up playing, and if his romance with Vicki Vallencourt will ever be anything more than mere "friends". Sure, he frequently undermines his sequences with editorial and structural miscues, and he manages to wick away much of the cleverness about three-quarters of the way through, but as an example of the successful merging of athleticism and anarchy, The Waterboy works.

What doesn't however, is the way this movie has been treated on Blu-ray. Oh sure, it looks fine. It's not going to win any high definition awards, but it does provide a more polished, theater like transfer of the title. Similarly, the sound elements make for a more full bodied and sonically substantial experience. But where are the bonus features? Blu-ray is not just about the tech specs - it's about utilizing all that extra disc space to plump up the product with lots of interactive trivia and tidbits. Like the recent Watchmen release, the format can function as a how-to, an exercise in insight, even a chance to clear up some long held misconceptions. But The Waterboy gets something that few thought the new fangled conceit would cotton to - a basic, barebones release. It's a shame, really. The appreciation for the film has only grown with time. Certainly something could have been made to celebrate its staying power.

As with most Sandler movies, however, The Waterboy appears destined to be discounted as nothing more than a simple star vehicle for a once popular cultural icon, a funny man who's since felt the need to spread his thespian wings. For some reason, amusing people are compelled to explore their darker side, and it's not without its drawbacks. Those who liked you before hope you return to the ridiculous, while those who found your forays into drama mildly amusing slam you for going backwards. Had he continued to combine types, to take certain cinematic categories like the thriller and meld it into his particular style of satire, Sandler would still be on top. He wouldn't have to dive between current filmmaking fads to earn his considerable keep. The Waterboy once argued for where this comedian's career could flourish. It's all been downhill and sideways since then.

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In Americana music the present is female. Two-thirds of our year-end list is comprised of albums by women. Here, then, are the women (and a few men) who represented the best in Americana in 2017.

If a single moment best illustrates the current divide between Americana music and mainstream country music, it was Sturgill Simpson busking in the street outside the CMA Awards in Nashville. While Simpson played his guitar and sang in a sort of renegade-outsider protest, Garth Brooks was onstage lip-syncindg his way to Entertainer of the Year. Americana music is, of course, a sprawling range of roots genres that incorporates traditional aspects of country, blues, soul, bluegrass, etc., but often represents an amalgamation or reconstitution of those styles. But one common aspect of the music that Simpson appeared to be championing during his bit of street theater is the independence, artistic purity, and authenticity at the heart of Americana music. Clearly, that spirit is alive and well in the hundreds of releases each year that could be filed under Americana's vast umbrella.

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Features

The Best Country Music of 2017

still from Midland "Drinkin' Problem" video

There are many fine country musicians making music that is relevant and affecting in these troubled times. Here are ten of our favorites.

Year to year, country music as a genre sometimes seems to roll on without paying that much attention to what's going on in the world (with the exception of bro-country singers trying to adopt the latest hip-hop slang). That can feel like a problem in a year when 58 people are killed and 546 are injured by gun violence at a country-music concert – a public-relations issue for a genre that sees many of its stars outright celebrating the NRA. Then again, these days mainstream country stars don't seem to do all that well when they try to pivot quickly to comment on current events – take Keith Urban's muddled-at-best 2017 single "Female", as but one easy example.

Nonetheless, there are many fine country musicians making music that is relevant and affecting in these troubled times. There are singers tackling deep, universal matters of the heart and mind. Artists continuing to mess around with a genre that can sometimes seem fixed, but never really is. Musicians and singers have been experimenting within the genre forever, and continue to. As Charlie Worsham sings, "let's try something new / for old time's sake." - Dave Heaton

10. Lillie Mae – Forever and Then Some (Third Man)

The first two songs on Lillie Mae's debut album are titled "Over the Hill and Through the Woods" and "Honky Tonks and Taverns". The music splits the difference between those settings, or rather bears the marks of both. Growing up in a musical family, playing fiddle in a sibling bluegrass act that once had a country radio hit, Lillie Mae roots her songs in musical traditions without relying on them as a gimmick or costume. The music feels both in touch with the past and very current. Her voice and perspective shine, carrying a singular sort of deep melancholy. This is sad, beautiful music that captures the points of view of people carrying weighty burdens and trying to find home. - Dave Heaton



9. Sunny Sweeney – Trophy (Aunt Daddy)

Sunny Sweeney is on her fourth album; each one has felt like it didn't get the attention it deserved. She's a careful singer and has a capacity for combining humor and likability with old-fashioned portrayal of deep sadness. Beginning in a bar and ending at a cemetery, Trophy projects deep sorrow more thoroughly than her past releases, as good as they were. In between, there are pills, bad ideas, heartbreak, and a clever, true-tearjerker ballad voicing a woman's longing to have children. -- Dave Heaton



8. Kip Moore – Slowheart (MCA Nashville)

The bro-country label never sat easy with Kip Moore. The man who gave us "Somethin' 'Bout a Truck" has spent the last few years trying to distance himself from the beer and tailgate crowd. Mission accomplished on the outstanding Slowheart, an album stuffed with perfectly produced hooks packaged in smoldering, synthy Risky Business guitars and a rugged vocal rasp that sheds most of the drawl from his delivery. Moore sounds determined to help redefine contemporary country music with hard nods toward both classic rock history and contemporary pop flavors. With its swirling guitar textures, meticulously catchy songcraft, and Moore's career-best performances (see the spare album-closing "Guitar Man"), Slowheart raises the bar for every would-be bro out there. -- Steve Leftridge



7. Chris Stapleton – From a Room: Volume 1 (Mercury Nashville)

If Chris Stapleton didn't really exist, we would have to invent him—a burly country singer with hair down to his nipples and a chainsaw of a soul-slinging voice who writes terrific throwback outlaw-indebted country songs and who wholesale rejects modern country trends. Stapleton's recent rise to festival headliner status is one of the biggest country music surprises in recent years, but his fans were relieved this year that his success didn't find him straying from his traditional wheelhouse. The first installment of From a Room once again finds Stapleton singing the hell out of his sturdy original songs. A Willie Nelson cover is not unwelcome either, as he unearths a semi-obscure one. The rest is made up of first-rate tales of commonality: Whether he's singing about hard-hurtin' breakups or resorting to smoking them stems, we've all been there. -- Steve Leftridge



6. Carly Pearce – Every Little Thing (Big Machine)

Many of the exciting young emerging artists in country music these days are women, yet the industry on the whole is still unwelcoming and unforgiving towards them. Look at who's getting the most radio play, for one. Carly Pearce had a radio hit with "Every Little Thing", a heartbreaking ballad about moments in time that in its pace itself tries to stop time. Every Little Thing the album is the sort of debut that deserves full attention. From start to finish it's a thoroughly riveting, rewarding work by a singer with presence and personality. There's a lot of humor, lust, blues, betrayal, beauty and sentimentality, in proper proportions. One of the best songs is a call for a lover to make her "feel something", even if it's anger or hatred. Indeed, the album doesn't shy away from a variety of emotions. Even when she treads into common tropes of mainstream country love songs, there's room for revelations and surprises. – Dave Heaton

From genre-busting electronic music to new highs in the ever-evolving R&B scene, from hip-hop and Americana to rock and pop, 2017's music scenes bestowed an embarrassment of riches upon us.


60. White Hills - Stop Mute Defeat (Thrill Jockey)

White Hills epic '80s callback Stop Mute Defeat is a determined march against encroaching imperial darkness; their eyes boring into the shadows for danger but they're aware that blinding lights can kill and distort truth. From "Overlord's" dark stomp casting nets for totalitarian warnings to "Attack Mode", which roars in with the tribal certainty that we can survive the madness if we keep our wits, the record is a true and timely win for Dave W. and Ego Sensation. Martin Bisi and the poster band's mysterious but relevant cool make a great team and deliver one of their least psych yet most mind destroying records to date. Much like the first time you heard Joy Division or early Pigface, for example, you'll experience being startled at first before becoming addicted to the band's unique microcosm of dystopia that is simultaneously corrupting and seducing your ears. - Morgan Y. Evans

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Scholar Judith May Fathallah's work blurs lines between author and ethnographer, fan experiences and genre TV storytelling.

In Fanfiction and the Author: How Fanfic Changes Popular Culture Texts, author Judith May Fathallah investigates the progressive intersections between popular culture and fan studies, expanding scholarly discourse concerning how contemporary blurred lines between texts and audiences result in evolving mediated practices.

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Which is the draw, the art or the artist? Critic Rachel Corbett examines the intertwined lives of two artists of two different generations and nationalities who worked in two starkly different media.

Artist biographies written for a popular audience necessarily involve compromise. On the one hand, we are only interested in the lives of artists because we are intrigued, engaged, and moved by their work. The confrontation with a work of art is an uncanny experience. We are drawn to, enraptured and entranced by, absorbed in the contemplation of an object. Even the performative arts (music, theater, dance) have an objective quality to them. In watching a play, we are not simply watching people do things; we are attending to the play as a thing that is more than the collection of actions performed. The play seems to have an existence beyond the human endeavor that instantiates it. It is simultaneously more and less than human: more because it's superordinate to human action and less because it's a mere object, lacking the evident subjectivity we prize in the human being.

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