Given how many of his films are silly, over the top, gross out, juvenile comedies, it’s surprising that Adam Sandler’s (“Uncut Gems,” “Happy Gilmore”) production company has only ever made one animated film before. Yes, he’s been a voice in plenty of others, but in terms of one he’s been directly involved in the making of, it’s either the abysmal “Eight Crazy Nights” or the surprisingly sincere, sweet, and still silly musical comedy “Leo (2023).”
The film stars Sandler as Leo, a classroom lizard facing an end-of-life crisis after he realizes that his death might be just around the corner. He then finds a new purpose in life after he begins talking to and giving life advice to the elementary students in his classroom, much to the chagrin of the suspicious, strict substitute teacher Ms. Malkin, voiced by Cecily Strong (“The Awesomes,” “Schmigadoon!”), and his fellow classroom pet Squirtle, voiced by Bill Burr (“F is For Family,” “The King of Staten Island”).
Even for the ilk that Sandler’s brood have typically turned out, “Leo” can get exceptionally weird as it goes on. And yet, it gets weird in an endearing and extremely fun way. Sadler is laying on a very thick and very silly voice, but it works because it's never played as a joke. This is just how Leo is, and Sandler commits to giving him a legitimately emotional and sincere performance when needed. The rest of the voice cast is acceptable, but still fun. No one else is really giving it their all like Sandler is, but they’re still doing a good job, with Burr and Strong coming the closest to Sandler’s efforts.
Given that this is animated by Animal Logic, the studio behind the likes of “The LEGO Movie” franchise, “Storks,” and “Happy Feet”, the expectations are high for the quality of said visuals and animation. This is one of the aspects where the film falters, as despite the pedigree of the studio, the animation leaves something to be desired. Some of the scenes and shots are absolutely gorgeous, while others feel unfinished or just uncanny. While this can be attributed to the movie’s more lumpy and slightly ugly aesthetic, not all of it can.
Musically, it's the same circumstance as the visuals. Quite a few of the songs are excellently written and make for toe-tapping good times, but there are also a few that feel more like some of Sandler’s SNL songs but played completely straight. Co-director/co-writer/songwriter Robert Smigel (“Hotel Transylvania,” “You Don’t Mess with the Zohan”) crafts plenty of witty lines, but they only sometimes acquiesce into actually decent musical tunes. The songs, regardless of quality, do at least fit in the film, and co-directors/writers Robert Marianetti (“Stroker and Hoop”), David Wachtenheim (“Stroker and Hoop”), and Smigel and co-writers Paul Sado (“The Cobbler,” “Sandy Wexler”) and Sandler do manage to craft a world where it all does feel believable, as believable as a world this weird can.
Speaking of, there is a prevailing sense of weirdness throughout the entire film that truly extends into the uncanny and bizarre. While there is the normal level of animated movie silliness, there are talking animals after all, there’s also some purely bonkers elements, such as a bunch of singing, dancing clocks that are not people in suits, but actual anthropomorphic clocks that go completely unexplained. Talking animals are weird in this world, but apparently singing and dancing clocks are on the payroll for a musical number. There are also shots that look as if they’re meant to be silly or weird for a moment or two that leap far into the uncanny valley and become something almost offputtingly ugly.
The film spends most of its runtime coasting along on its charms and weirdness, but there is a sense of genuine sincerity that makes the film far better than expected. It does still reek of a corporate/old man “is this what the kids like” attitude, but that sincerity really goes a long was to endear you to the characters and film as a whole, almost in spite of everything else.
“Leo” is silly, lighthearted, and weird, and it certainly isn’t perfect, but there’s enough genuine heart and oddness going on to be a distracting little adventure for young and old. Sandler is legitimately putting some great effort into his vocal performance and the songs have enough kick and rhythm to keep this adventure of an ageing little lizard afloat for a sleepover or evening with the kids. 3.5/5
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