What irony that a film all about a compulsive gambler would
find me actually cashing in on one of my bets. A couple of years ago, between
Adam Sandler’s work on Sandy Wexler and The Meyerowitz Stories, I saw a major
shift in his place as an actor. The kind that not only gave hope for bigger and
better things to come, but also gave the impression that the man could be on
the verge as a serious breakthrough, big enough to possibly warrant some
re-evaluation of someone most audiences wrote off years ago. Meyerowitz may
have shown that that shift wasn’t a fluke, but this film outright confirms that
rejuvenation.
