Your enjoyment of this film will be based on how favourably you rate the main actor, Adam Sandler.For me he's OK in small doses, and of all his films this is perhaps where he's most likable, interacting well with the Sprouse twins.It's not a great comedy though, and despite some nice moments is largely forgettable.

I don't write reviews but this movie is so bad that i have to write one...There is nothing funny about this movie..The best thing about this movie is that you will hate the protagonist and you will skip right to the end..I would have given it less than zero stars...This movie is bad..So please don't waste your time on this...Adam Sandler really was and still now a bad actor...I hope the meyerowitz stories will change his image...

The films of Adam Sandler exist as the baffling proof that humour appealing to the lowest common denominator can indeed succeed in Hollywood. His ideas of how to elicit laughs are crude to say the least, coming from both verbal and physical standpoints. He always plays the main attraction, who by now audiences are familiar with like a scraggly long lost uncle. Sandler's characters are usually various renditions of an overgrown child in an adult man's body, acting much like the one he is charged with taking care of in Big Daddy. They are shouty to the point of being verbally abusive, physically aggressive, impulsive, shameless womanisers, part-time misogynists, and in some cases like this one, going nowhere slackers. I suppose that somewhere within this figure lie some more endearing everyman traits, but somehow they always seem to be pushed aside for more of Sandler's trademark hit moments. The worse disparity of the two ends of this spectrum came in Click, which shifted between genuine, heartbreaking regret and toilet humour of the lowest kind. There was also the apparent subversion of Paul Thomas Anderson's Punch Drunk Love, hosting the same type of character but wrapping him up in sympathy and puppy love. Sandler's stories, in whatever shape, form or plot, usually descend into the character finding and righting his path, a sort of bildungsroman for the child trapped in the adult body. In going through some variation of a life altering trial or tribulation he inevitably finds a bit of common sense and tact, and the film therefore rewards him for it (usually in the form of a girl). But paradoxically they also demand that Sandler not lose any of his original 'charm' that makes his characters what they are - so much so that in the epilogues he still wont't hold back on his typical one-liners. The plots of his films therefore pull off the magical trick of being able to freeze Sandler's characterisation for choice tender moments - segments where the brash loudmouth is suddenly and inexplicably exchanged for the nervous little boy as he tries to woo Layla, or the more responsible parent of Julian. Of course, Layla as a character is little more than a carrot on a stick, a prize to be dangled in front of Sonny to coax him into getting his life together. And Joey Lauren Adams is a goddamn angel with that smile - she would be taken with a serial killer if the plot required her to. But the crux of these plots is that these moments rarely ask Sandler to take up any actual responsibility other than a few of those gift-wrapped moments of sentimentality and assigned 'growth', doled out in spirited montages. When the film then tries to fall back on its humour, it predictably crashes and burns. Julian, portrayed by the Sprouse twins, is an aggressive bundle of cuteness designed to disarm Sandler's brand of cynicism and immaturity. He mispronounces every second syllable like a character from Looney Tunes, and waddles and pouts his lips just the right way so that even Sonny cannot bear but try and act like an actual parent. But Sonny is a Sandler character through and through, and hardly ready to be a father, so along the way Julian picks up the valuable lessons of losing with humility, manners, personal hygiene, altruism, caring for animals and treating women with respect. After Big Daddy Sandler would also start his own production company to ensure these characters survived, and provide Rob Schneider with a reason to live. Despite all of these pitfalls, audiences seem to like repetition and Sandler's brand of humour, perhaps if only to stick around for the rare films in which he is not only funny, but also genuinely likable.An alternative summary of the film: Hooters Hooters Hooters Hooters Hooters. It's ironic that Sonny would bag Corinne for her former college job, because he fits the profile of someone who would frequent the same fast-food joint.

I really like this movie. I can't believe that it took me so many years to finally watch it. I think I just forgot about it, at some point.This movie is about Sonny Koufax, mostly. He's a 32-year-old law school graduate. He has a nice apartment in Manhattan and his life seems to be pretty good. However, there is one problem. He does nothing. Ever. He sits on his butt and lives off an investment that was the result of a lawsuit he won, one year ago. So, yeah, that's a problem. Even though it sounds like a nice thing to do, but not for that long. When his friend, Kevin, is on a business trip, it is discovered that Kevin has a son that he never knew about. Sonny has to take care of the boy until his father returns. At first things don't go well, but then Sonny ends up loving him. I thought he might've adopted him, but he doesn't. Instead, they stay close and Sonny gets married and has children of his own.Overall, I give this movie a 7 out of 10.