‘Honey, I Turned Myself Into a Ladybug’: The Masterpiece Sequel That Never Needed to Be
Adam Sandler’s spellbinding swan (ladybug?) song
Quietly released in 2023, the straight-to-Vudu reboot of the 1989 classic, Honey, I Shrunk The Kids, is a movie some will claim never needed to exist. But more conscientious viewers, like myself, will argue that the movie is not only the thrill we all need this holiday season… but single-handedly one of the greatest cinematic adventures to ever hurtle past big screens and onto C-rate streaming services.
Written, produced, directed, and scored all by the quintessential mind of Adam Sandler, the film’s divine beauty and elegance are something plainly apparent from the very moment that the opening credits roll.
Sandler, the epochal thinker behind movies such as Jack & Jill, Grown Ups 2, and You Don’t Mess With the Zohan, delivers a performance here that can be aptly considered a career-best. Soaring above even Waterboy and I Now Pronounce You Chuck & Larry heights, the performer — the comedic and dramatic artist of a generation — expresses such a viscerally dynamic range of emotion that it’s often gutting for the viewer to even behold. We sympathize with Sandler’s struggle as he endures all the adversity that his unwitting new life as a ladybug has in store.
But hardly less spectacular are the performances of his two children. Played by rapper Machine Gun Kelly and comedian Mindy Kaling, their casting may at first appear perplexing, but by the film’s final act, their captivating performances are nearly enough to draw tears. The three together deliver a triumvirate of acting talent whose on-screen chemistry is unlikely to ever again be surpassed.
Sandler expertly fills the shoes of the role of Rick Moranis in this seamless reanimation of the Wayne Szalinski character. The adjustment to the tattoo-clad Kelly and wise-cracking Kaling as his two children, Nick Szalinski and Amy Szalinski is certainly jarring, but viewers quickly grow to adore their powerfully unique and synergistic on-screen chemistry.
With the musical genius behind “The Chanukah Song,” “The Thanksgiving Song,” and “Piece of Shit Car” at the helm of the project, Honey, I Turned Myself Into a Ladybug has a sound score that’s nothing if not mesmerizing. Highlights like “The Ladybug Song” and “God Damnit, I Just Want to Be Human Again,” evoke an emotional weight that carries the odyssey of a film through its most jaw-dropping and melancholic moments.
Though each of the characters’ embodiment of ladybugs harkens ever-so-slightly back to the lows of the 2019 Cats fiasco…
… Sandler, Kaling and Kelly’s evocative performances as the titular insects more than make up for their disconcertingly cosmetic-covered screentime as the six-legged creatures. No less laudable, though, is Steve Buscemi’s cameo as a protective praying mantis or Dwayne “The Rock” Johnson’s daring dung beetle, and his soul-stirring musical monologue.
The stunning cinematics are all achieved through practical effects alone, earning even the praise of acclaimed director Christopher Nolan in the process. “That we could bring both Oppenheimer and Honey, I Turned Myself Into a Ladybug to the big screen in the same year — it gives hope for the future of cinema,” explained the Interstellar and Inception director in an interview.
We vicariously feel Kelly’s pain as he survives the brutal lacerations that come with his newfound ladybug body. In one particularly harrowing scene, as he tries to belligerently brave the forces of an entire nest full of wasps with his buggy biceps alone, the story delivers home a powerful moral about the value of friendship and teamwork. Though Kelly walks away from the battle with undeniable scars, they’re ones that ultimately help him to trust his industrious insect companions… and to grow into a more courteous and noble ladybug.
Though it’s a role outside of his dramatic range, it’s difficult to deny the impact of his performance. Kaling’s colorful camaraderie and witty one-liners prove to be the glue of the group as the insect trio faces off against an increasingly terrifying series of threats and foes. The climax drives home some unforgettable emotional blows that it might be best to spare children from. Despite the generally childish subject matter on display, it can’t be stated clearly enough that Honey, I Turned Myself Into a Ladybug earns its X Rating.
Though the sex scenes between the rapper, turned punk star, turned spotted-red insect, and his budding love interest prove admittedly gratuitous in their more graphic and drawn-out sequences, Honey, I Turned Myself Into a Ladybug breaks new grounds and drives home important social truths throughout its 14 hour and 42 minute runtime. It opens the door to a conversation about our societal stigma against LGBTQ insects. Sandler’s pristine directorial vision drives home a powerful message about how love transcends borders… and phyla.
Renowned voice, progressive trailblazer, and esteemed LucasFilms president, Kathleen Kennedy — as she humbly asked that I introduce her — has called the movie “The masterpiece of a generation. A spellbinding proof of how love… and diversity will always prevail.”
Though the 4% critical Rotten Tomatoes score for the movie is undoubtedly discouraging, prospective viewers can take certain solace in the nearly 6% audience score! What’s difficult to deny — in spite of all those denying it — is that Honey, I Turned Myself Into a Ladybug is not merely the movie of the year, but likely the greatest film ever created in the history of cinema.