For the longest time, Adam Sandler has been unashamedly bringing his friends together to make movies that mean they get to visit exotic destinations together. These are not good movies, but he is still being paid for them nonetheless. Now he is taking what many would assume is the next natural step by bringing his children and wife onboard as well for a Bat Mitzvah film – and yet this time it works.
Adapted from Fiona Rosenbloom’s young adult novel of the same title, “You are so not invited to my Bat Mitzvah” unfolds as a distinctly Jewish take on “Are You There God? It’s Me, Margaret.” The narrative centres on a young girl teetering on the precipice of womanhood, earnestly beseeching the divine in her regular prayers. Sandler’s youngest daughter, Sunny, delivers a remarkable and fearless portrayal as Stacy, a character who instantly captivates with her charisma.
We’ve seen this before
Stacy grapples with the typical adolescent quandaries; her identity in the world, her burgeoning adulthood, and the yearning she feels for the attention of the opposite sex. She sets her sights on a young man in her Hebrew class, replete with impeccable curly locks and a Star of David pendant. This fixation soon spirals into a calamity, inciting a psychological battle between Stacy and her closest confidante, Lydia, portrayed excellently by Samantha Lorraine.
Adam Sandler assumes the role of a witty, jovial father, while Sandler’s real-life spouse, Jackie, takes on the character of Lydia’s mother. The elder Sandler daughter, Sadie, portrays Ronnie, the eldest Friedman daughter. Amidst the tumult of bat mitzvah rivalries, the Sandlers manage to convey a genuine, jovial warmth and rapport with one another, making a compelling case for nepotism.
Other star-turn performances
Notably, the film also features some standout non-Sandler cameo appearances, with Sarah Sherman shining as a singing rabbi, crooning whimsical tunes like “God is random sauce,” and Luiz Guzmán making a memorable appearance as a father still nursing a grudge over a parking spot dispute from years past.
Nonetheless, the narrative predominantly revolves around the children, firmly cementing their ownership of the story. Given the subject matter, this film is unmistakably tailored for a specific demographic. It adheres to a familiar formula, encompassing the dynamics of friendship, falling out, and reconciliation. While it may lack groundbreaking originality for those acquainted with John Hughes’ oeuvre, its unabashed Californian display of affluence might seem exotic to the average South African, for whom extravagantly themed bat mitzvah celebrations, featuring DJs, fire performers, and a virgin mojito bar, are a rarity.
Sammi Cohen’s directorial flair and style ensure that the film remains engaging. Similar to recent releases like “Ms. Marvel” and “Polite Society,” there’s a concerted effort to infuse a manic directorial energy that complements the characters and welcomes a broader audience into a distinctive subculture and tradition. This endeavour certainly deserves applause. Mazel tov!
