In “Murder Mystery” and the new sequel “Murder Mystery 2,” streaming on Netflix, Sandler plays Nick Spitz, a New York City police detective longing for a promotion (more to the point, a raise). In the first film, Nick and his wife, Audrey (Jennifer Aniston), are celebrating their 15th anniversary with a long-overdue trip across Europe. On the plane, Nick spots Audrey chatting with Charles (Luke Evans), a dashing, titled billionaire, and can barely contain his envy.
“I know I’m not a duke,” Nick tells Audrey sheepishly, when they have a moment alone.
“He’s a viscount,” Audrey corrects him.
“I don’t even know what that is,” Nick replies.
This exchange is typical of the couple’s banter, which ranges in the films from tender to acrimonious to protective, sometimes in the span of a single line. Sandler plays the devoted but put-upon husband with a delicate balance of compassion and aloofness, and in moments like this, a wounded candor comes through that is oddly touching. While there’s humor in Nick’s jealousy of his rich and handsome competitor, Sandler laces it with a feeling of threatened ego and husbandly pridefulness. You get a real sense that Nick loves Audrey, and an equally clear impression of how 15 years of husband-and-wife routine have calcified their partnership.
“Murder Mystery 2” picks up where the first film left off, with Nick and Audrey having parlayed their crime-solving success into a career as professional gumshoes. As with the original, this sequel works because it remains grounded in the mundane rhythms of a longtime marriage. And again, Sandler channels a hangdog torpor, almost a melancholic air, in a performance that bristles with comic realism. When he has to carry the ransom to a hostage exchange, he grouses about the weight of the briefcase (then gets defensive about the size of his hands); moments after a murder, he bickers with his wife about appropriate before-bed snack portions. This is a man with more down-to-earth concerns than the mystery he is ostensibly solving. Sandler, with surly charisma, makes those concerns palpable.
Even the broadest of Sandler’s recent comedies benefit from this maturation. “Hubie Halloween” (2020, on Netflix), a goofy horror parody very much in the style of vintage Happy Madison productions, stars Sandler as Hubie Dubois, a sweet-natured simpleton reminiscent of the characters he played in “Little Nicky” and “The Waterboy.” (As in those films, Sandler speaks entirely in a squeaky, abrasive voice.) The difference is that “Hubie” leans into Sandler’s latent sweetness, counterbalancing the raunchy lowbrow humor with a heartfelt — perhaps even sentimental — touch. There’s always been a deep-seated earnestness in his work: Consider the Frank Capra-esque ending of his mawkish (and underappreciated) farce “Click” (2006). Lately, alongside the weariness, that warmth has come to the fore.
