50 First Dates [UMD]

MOVIE DESCRIPTION:

Re-teaming Adam Sandler with Drew Barrymore, his co-star from The Wedding Singer, as well as Peter Segal, his director on Anger Management, Fifty First Dates finds the funnyman playing veterinarian Henry Roth. More than content with a life of one-night-stands, Henry decides to give up his noncommittal lifestyle when he meets and falls for Lucy (Barrymore). However, when he discovers that Lucy has no short term memory, Henry finds himself having to win her heart again with every new day. Sean Astin and Rob Schneider also star. ~ Matthew Tobey, Rovi

DVD FEATURES:

• Region: 1
• Number of Discs: 1
• Aspect Ratio: 1.78:1 (Alternate Wide Screen)
• Screen: Color, Enhanced Wide Screen Letterbox for 16x9 TV
• Subtitle: French, Spanish, Korean, Thai, English
• Features:
  • • Full-length movie
    • Widescreen presentation
    • DVD picture quality

ADDITIONAL INFORMATION:

• Director:

  Peter Segal

• Producer:

  Jack Giarraputo, Nancy Juvonen, Steve Golin

• Screenwriter:

  George Wing

• Cinematographer:

  Jack N. Green

• Composer (Music Score):

  Teddy Castellucci

• Musical Direction/Supervision:

  Michael Dilbeck

• Editor:

  Jeff Gourson

• Production Designer:

  Alan Au

• Art Director:

  Domenic Silvestri

• Co-producer:

  Larry Kennar, Scott Bankston

• Associate Producer:

  Kevin Grady

• Executive Producer:

  Daniel Lupi, Jay Roach, M. Jay Roach, Michael Ewing, Scott Bankston

• Set Designer:

  James Bayliss, Martha Johnston, Robert Greenfield

• Costume Designer:

  Ellen Lutter, Leslie Brown, Michael A. Russell

• Sound/Sound Designer:

  David Kelson

• Makeup:

  Ann Pala, Robin Fredriksz

• Special Effects:

  Sony Pictures Imageworks

• First Assistant Director:

  Adam Druxman, John Hockridge

• Animator:

  Sony Pictures Imageworks

• Camera Operator:

  Joseph Urbancszyk, Stephen Campanelli

• Stunts:

  Brycen Counts, Gary Guercio, Michael Adams, Michael Brady, Paul Eliopolus, Tara Fuller

• Casting:

  Roger Mussenden

• Production Manager:

  Lila Yacoub, Max Brehme, Tim Wiles, William W. Weiske III

• Additional Music:

  Carl Rydlund, Tom Mgrdichian

• ADR Recordist:

  Howard London

• ADR Supervisor:

  David Bach

• Art Department Coordinator:

  Dru Homer

• Assistant Art Director:

  Don Woodruff

• Assistant Chief Lighting Technic:

  Michael K. O'Melia

• Assistant Costume Designer:

  Clare Hallworth, Jeannie H. Kelly, Nina Hallworth

• Assistant Location Manager:

  Justin Healy, Leann Emmert, Martin L. Hudson

• Assistant Production Coordinator:

  Demelza Cronin, Lisa Lee Mitchell

• Assistant Properties:

  Chuck Askerneese

• Assistant Sound Editor:

  Drake Jenevein

• Best Boy Grip:

  John Powers

• Boom Operator:

  Robert C. Jackson

• Camera Loader:

  Shayna Ritenour

• Casting Assistant:

  Kendra Carter

• Casting Associate:

  Elizabeth Torres

• Chief Lighting Technician:

  Mark Vuille

• Conductor:

  Pete Anthony

• Construction Coordinator:

  Karen D. Higgins

• Costumes Supervisor:

  Robert Q. Mathews

• Department Head Hair:

  Nanxy Ton Heater

• Department Head Makeup:

  Rose Librizzi

• Dialogue Editor:

  Robert C. Jackson, Russell Farmarco

• Digital Effects:

  Allen Ruilova, Carlo Volpati, Vince Truitner

• Dolly Grip:

  James D. Wickman

• Extra Casting:

  Central Casting, Margaret J. Doversola

• First Assistant Camera:

  Bill Coe, Peter Green

• First Assistant Editor:

  Jason Gourson, Laura J. Weiss, Tom Costain

• Foley Artist:

  Pamela Nedd Kahn, Vincent Guisetti

• Foley Editor:

  Clay Weber, Marc Glassman

• Foley Mixer:

  Kyle Rochlin

• Gaffer:

  Allan Brady

• Graphic Design:

  Martin T. Charles

• Hair Styles:

  Lona Vigi

• Head Animal Trainer:

  Steve Berens

• Key Costumer:

  Mari Grimaud

• Key Grip:

  Charles Saldana

• Key Hairstylist:

  Pauletta Lewis-Irwin

• Key Make-up:

  Carme Tenuta

• Leadman:

  Mark C. Weissenfluh, Sean Ginevan

• Location Manager:

  Jim Triplett, Timothy Hillman

• Makeup Special Effects:

  K.N.B. EFX Group

• Matte Artist:

  Dave R. Bleich, Ivo Horvat, Josh Geisler-Amhowitz

• Model Effects:

  Francois Bordez

• Music Editor:

  J.J. George, Stuart Grusin

• Negative Cutter:

  Boyd Steer, Mo Henry, Phillip Janssens

• Pilot:

  Cliff Fleming, Thomas Hauptman

• Production Assistant:

  Anthony Buchanan, Anthony Hoffman, Brad Robinson, Carrie L. Ringler, David Alexandre, Ed Kashiba, J.J. Titone, Katherine Gourley, Nancy Senaga, Nicole Nakamoto, Norman Kali, Rob Severin, Ryan Staniec, Scott Berri

• Production Coordinator:

  Susan M. Ehrhart

• Production Secretary:

  Kerri Smeltzer

• Script Supervisor:

  Nancy Karlin, Summer Banner

• Second Assistant Camera:

  Bill Marti, Bobby McMahan

• Second Assistant Director:

  Joe Kontra, Michael L. Phillips

• Second Second Assistant Director:

  Timothy Grant Engle

• Second Unit Director:

  Jim Bissell

• Set Dresser:

  Cameron Matheson, Chris Parker, John Hammer Maxwell

• Sound Effects Director:

  Cameron Steenhagen, Derek Vanderhorst, Orada Jusatayanond

• Special Effects Coordinator:

  John Hartigan

• Special Effects Foreman:

  Chris Walkowiak

• Special Effects Supervisor:

  Sheena Duggal

• Still Photographer:

  Darren Michaels

• Storyboard Artist:

  Alexander Hill, Gary Thomas, Kevin McCarthy

• Stunts Coordinator:

  Webster Whinery

• Supervising Sound Editor:

  Elmo Weber

• Unit Production Manager:

  Daniel Lupi

• Unit Publicist:

  Spooky Stevens

• Video Assist:

  Alfred Ainsworth

• Visual Consultant:

  Jim Bissell

• Visual Effects Editor:

  Steve Rhee

• Visual Effects Producer:

  Victoria Alonso

• Voice Casting:

  The Reel Team

REVIEW:

• 50 First Dates pulls off a neat little trick. The opening 20 minutes are filled with familiar Adam Sandler movie bits (walrus puke, sexually ambiguous co-worker, a horny and ethnic Rob Schneider) that even he seems tired of but knows need to be there for his core audience. In a pleasant surprise, the movie manages to disengage from its autopilot setting once the film's high concept kicks in. The Memento-meets-Groundhog Day conceit is actually thought out by first-time screenwriter George Wing. The film actually takes the time to figure out how Drew Barrymore's inability to make new memories affects those who love her most, and manages to find complications and solutions that are logical and thematically resonant. Director Peter Segal and Sandler, recognizing that they have been given a charming love story, are confident enough to back away from the more pedestrian moments of outlandishness that open the film. Sandler and Barrymore made a winning duo in The Wedding Singer. That film marked the first time Sandler tried to take his film persona in a new direction -- something he attempted more boldly in Paul Thomas Anderson's underappreciated Punch-Drunk Love. Sandler obviously learned from his experience on Punch-Drunk Love how his infantile screen persona can be allowed to grow up. With 50 First Dates, he has taken the lessons from that film, and packaged them in a way that his audience can accept. ~ Perry Seibert, Rovi