This is at least partly a function of her specificity.Jill is a proudly aggressive Jew, a lifelong New York City resident who claims never to have tried Mexican food ("They don't have it at my deli").
Smigel allegedly did a polish on Jack and Jill, but the credited screenwriters are Sandler and ex-SNL writer (and current high-concept comedy engineer) Steve Koren.
Smigel's absurdist tendencies don't emerge often enough.
As Jill, he affects a Bronx Jew bray, and the sketch-comedy ridiculousness is almost liberating: he's playing a new character, rather than a tired gloss on his post-famous self.
Jill may look like Sandler in drag, but she's convincing as a personality.
But they do exist, most clearly in the Pacino subplot, much weirder and funnier than most of the movie, which relies on a typical mix of slapstick and kid-friendly grossness for its comic beats.
Whenever Pacino turns up, the movie feels energized.But as Sandler has grown more comfortable -- and as his fans have ascended into middle age with him -- his comic persona has grown slouchier, more suburban.He's now content to play cranky straight man in his own movies, making wan cracks about his weirdo friends, ethnically "other" employees, and assorted have-nots -- the comedy equivalent of a rich guy making condescending small talk with his gardener.al.) have competed over who can appear least engaged in a romantic relationship with an irritable Sandler; Holmes, 12 years his junior, is now reigning champion, as she paints a portrait of a sad, lifeless marriage.Jack and Jill resurrects a few other familiar tropes, from product placement jokes (a Sandler hallmark ever since Happy Gilmore, now incorporated into Jack's career as an ad man) and the regulars employed by Happy Madison Productions.She's also clearly lonely, craving "family time" and, especially, borderline creepy "twin time." Erin encourages Jack to humor his sister, but he mostly grits his teeth and waits for her to fly back east.