If you need to rest your eyes at any point during the 146 min. comedy epic Funny People, your best bet is to do it early during a sequence in which Adam Sandler’s character has back to back sex with a couple of female fans. The second of these scenes is mildly amusing, but there’s just no need to put the images in your head of either Sandler with a face full of breasts or the actor taking a girl from behind.

There are some actors we don’t need to see in a sex scene, humorous or otherwise, and Adam Sandler is one of them. He’s of a generation of comedic actors who starred in movies where they get the girl but where there’s no need for gratuitous sex and nudity. Unlike most of his successors, including Vince Vaughn, Owen Wilson, Paul Rudd and Dane Cook, he was never a pin-up in addition to being a funnyman. Even if he was better looking than some of his brethren, such as David Spade, Mike Myers, Chris Farley, Rob Schneider.

Still, Adam Sandler isn’t the last male actor we’d want to see in a sex scene. He’s not even in the bottom ten, which we present in a list below:
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Although published in 1994, Bret Easton Ellis’ The Informers is surely a product of the 1980s, reconstructing the decades’ tireless myths via a collection of terse, loosely interconnected short stories that the author wrote while still a Bennington debutante. I doubt I’ll ever get to see the early version of Gregor Jordan’s adaptation of The Informers that Ellis referred to as “an outstanding movie floating out there somewhere” in his recent interview with Scott Tobias over at A.V. Club, but the version that will make its way to theaters today is a hopelessly boring effort, one which only escapes its slapdash aesthetic when it verges on camp transcendence, exploiting its aging cast’s built-in Hollywood in the sleazy 80s vibe. It’s by no means however, quite as gut wrenchingly unwatchable as a few of zeitgeist-leeching 80s lit adaptations below, many of which happen to be authored by Ellis’ brat pack co-conspirators.

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Despite having a title that reminds us of that George Burns-Charlie Schlatter role-reversal movie from the ‘80s, 17 Again is not in fact part of the body swap genre. Rather, it’s more like Peggy Sue Got Married without the time travel. It’s also like a backwards Big, a movie many people mistakenly assign to the genre, which more technically includes such classics as The Hot Chick, Dream a Little Dream and Like Father Like Son. Of course, age-swapping films like Big, 13 Going on 30 and now 17 Again share many conventions and clichés with body swapping movies, so aligning them with that genre’s films is not entirely a film classification no-no.

Most familiar body swap movies owe their basic plot structure to F. Anstey’s 1882 novel Vice Versa: A Lesson to Fathers, which is, yes, the source material behind the 1988 movie starring Fred Savage and Judge Reinhold, as well as the basis for four other, prior film adaptations and a short-lived TV series. Even the three movie versions of Freaky Friday are more akin to Anstey’s story than the Mary Rodgers’ novel on which they’re based. In a way, because of the lesson learned in 17 Again, this new movie is also reminiscent of Anstey’s novel, even if not in a walking-in-someone-else’s-shoes sort of method.

But are there any other similarities to the body swap genre? You decide. While watching 17 Again this weekend, be on the look out for any of the clichés of the body swap movie, which we illustrate below, in order to determine its closeness to the classification.
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Earlier this month, Production Weekly reported that Alex Cox and David Lynch would begin shooting their Repo Man sequel, titled Repo Chick, next month. Fifteen 25 years after the release of the first movie, Cox revealed that it’s a timely revisit, as the new movie will “unfold against the background of the credit crunch and the subprime mortgage crisis in the US, where repossessions of homes, cars and other forms of property is at a new high.”

Coupled with the recent announcement that John Carpenter is producing a remake of his own They Live, the news of a second Repo Man film has us wondering what other ‘80s cult classics should appropriately be remade or revisited now that the economy is shit again. Depending on your definition of “cult film” (many people call Ghostbusters a cult classic), some of the selected films may not be fitting for that term. Regardless, the following ten movies, if redone today, would have definite relevance to these troubled times.

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In a crowded year for Best Actress contention, Anne Hathaway could be the only first-timer to receive an Oscar nomination in the lead category, possibly going up against mainstays such as her Devil Wears Prada costar Meryl Streep and Kate Winslet, as well as the less-nominated vets Nicole Kidman and Kristen Scott Thomas. Her main competition for the outsider, dark horse position is Frozen River’s Melissa Leo (who may benefit from her film’s initiatory screener campaign even though River’s theatrical release was early and hardly noticed), and Happy-Go-Lucky’s Sally Hawkins, whose film just debuted to favorable reviews citing her brilliant (as in talented and bright) performance. But Hathaway is sure to be the victor –– even though her performance in Rachel Getting Married is hardly deserving of such an honor.

The Oscar buzz for Hathaway has been high for weeks now, enough that the actress apparently joked about it in her Saturday Night Live monologue earlier this month (I thought of it as less a current-year expectation than a general career goal, but it’s made Risky Biz Blog’s Steven Zeitchik compare Hathaway to Catherine O’Hara’s buzz-afflicted character in For Your Consideration). The fact that she’s a well-known movie star should make Hathaway’s buzz continually more reportable by the press and more noticeable by both the public and the voters, which gives her some advantage over Leo and Hawkins in terms of cultural consciousness.

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• Hancock is expected to make around $100 million this weekend, simply because Will Smith + July 4th = boatloads of money, regardless of negative buzz.
• SAG still doesn’t have a contract, but nobody seems to be particularly concerned. According to Variety, “There’s a ubiquitous sense among studio and network execs, talent reps and multihyphenates that SAG does not have the bedrock of support among its members to call for a work stoppage.” Meanwhile, Tom Hanks is supporting a ratification of the AFTRA deal, which would almost certainly nix any possibility of a SAG strike, whilst Jack Nicholson wants his compatriots to hold out for a better deal.
• Sacha Baron Cohen will play Sherlock Holmes opposite Will Ferrell’s Watson in an as-yet untitled comedy based on the detective stories. But they’ll have stiff competition from a competing Sherlock film being developed by the week’s most famous male maybe-divorcee, Guy Ritchie…right? [crickets]

For the last twenty years, Jodie Foster has had a lot in common with Tom Hanks. They both were nominated for Oscars in 1989, and again in 1995 (she won the first time; he won the second time), a year in which they each were recognized for playing kind of retarded. Each now has two Academy Awards and each is considered a dark, dark horse for this year’s Oscar race (neither will be nominated). Both actors continue to remain at the top of America’s favorites, even when or after they star in critically scorned blockbusters. And now, Foster is apparently trying to add one more thing she has in common with Hanks: she’s gone and made her own Joe vs. the Volcano.

In the trailer for Nim’s Island, we see that Foster’s character, like Hanks’ “Joe”, is a closeted, unwell human being who ends up on a mission to a little island, of which she has been deemed the savior. And like Joe, Foster meets an annoying little blond — though this time it’s child actress Abigail Breslin instead of childish actress Meg Ryan. There are, however, a lot of differences, too. And ultimately, Nim’s Island look a hundred times worse than Joe versus the Volcano — which is saying a lot (Joe has its charms, but it is truly an awful movie).

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Will Smith walks the streets alone, the last of an almost-extinct breed. This sounds like the synopsis of Smith’s new movie, I Am Legend, but it is also relevant to the actor’s status in Hollywood these days. Often called our generation’s James Stewart, Will Smith is almost the last real movie star standing, a rare actor who can still be depended to bring moviegoers to theaters, no matter what the movie. The only other male movie star with such old fashioned movie star distinction is Tom Hanks. But is it problematic to put so much weight on one person? Is it true that we will watch Smith in literally anything? I know it’s true for me; I’d probably sit through Alvin and the Chipmunks this weekend if it starred Will Smith instead of Jason Lee. And a lot of others would probably do the same.

Regardless of what the critics think of it (and so far they seem to be mixed), I Am Legend is going to be a huge hit. That is pretty much a guarantee — so much so that Smith has acquired this dual role as both a savior of Earth in and a savior of Hollywood with many of the action movies in which he appears. This holiday season, according to a Reuters article, box office is down 7% from last year, and of course Smith is looked to for rescue.

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• Sony’s making a sequel to The Pink Panther. Yeah, the Steve Martin one. The one that was delayed for a year and only barely made back its production costs at the domestic box office. Judging by the cast they’ve put together (which includes Aishwarya Rai, Jean Reno and John Cleese), the studio seems to be banking on international appeal to put the franchise in the black.
• Brian Lowry reviews NY77, a documentary about the emergence of punk, hip-hop and “a sexually-permissive club scene” in New York in the late 70s. The film, which was produced by Nanette Burstein and premieres on VH1 this weekend, “methodically recreates the period’s vibe — with Geraldo Rivera recalling how at Studio 54, it was ‘absolutely appropriate’ to have sex in the bathroom stalls. (Today, sadly, he can only approximate that experience via his appearances on Fox News.)”
• Motion capture effects house Mova demonstrated a new 3-D technology at SIGGRAPH this week, aimed at creating life-like models of actors’ faces. According to Mova founder Steve Perlman, the future of 3-D won’t involve plastic glasses, but will be “more like theater in the round, where you can either walk around the scene or move into the scene itself.”
• Tom Hanks and Nia Vardalos are among the complaintants in a lawsuit filed against financing company Gold Circle Films. Hanks and crew claim Gold Circle “cheated” them out of profits on My Big Fat Greek Wedding. Variety’s Janet Shprintz notes that while Wedding is “one of the most successful indie films of all time”, it’s also “spawned an extraordinary amount of litigation” — this is the third lawsuit involving Vardalos alone.