Saks's film starred Walter Matthau as a dentist-cum-ladies-man who pretends to be married in order that none of his conquests will grow too attached. But when he falls in love with the much-younger Toni (Goldie Hawn, who won an Oscar in this, her first film role), he needs to find a make-believe wife to divorce. He quickly settles on his long-suffering, spinsterish assistant, Stephanie (Ingrid Bergman). The ensuing complications, though farcical, have a cruel authenticity to them: the film was released, after all, at a time of all-but-declared intergenerational and inter-gender warfare, and Cactus Flower, for all its laughs, is a frequently revealing dispatch from the battlefield.

Such skirmishes having largely been settled, however, Just Go With It adopts the frame without the bigger picture. Adam Sandler plays Danny, a rich plastic surgeon whose sexual shenanigans are rendered theoretically excusable thanks to a tragic backstory prologue: As a young groom, he overheard his bitchy bride-to-be regaling bridesmaids with tales of cuckolding him the day before the wedding. Drunk, bereft, and unwedded (though wedding-ringed), he stumbled into a bar and accidentally elicited the carnal compassion of a young beauty. Thus began two decades of his pretending to be unhappily married (to a wife who alternatingly cheats, beats, or drinks) in order to bed a succession of sympathetic twentysomethings. He is abetted in his deception by his devoted, though not the least bit spinsterish, assistant Katherine (Jennifer Aniston).

Yet one day at a party, his erotic and emotional balance are upset by the appearance of the intergalactically bodacious Palmer (Brooklyn Decker, better known as the wife of tennis star Andy Roddick, and best known as a Sports Illustrated swimsuit model with a proclivity for bikinis and body paint). The two sleep together on the beach and immediately fall in love, in one of the laziest romantic epiphanies ever committed to the screen.

From there, the story unfolds as before—Katherine is enlisted as the fake wife from whom Danny is seeking a divorce—with a few added wrinkles: the action is moved from New York City to Hawaii, in order that the clothing worn by the female leads may be decreased exponentially (ah, progress); a hyper-competitive old sorority sister (Nicole Kidman, in one of the most foolish roles ever accepted by a former Best Actress) shows up to offer Katherine her own rationale for deception; and the peripheral child roles of the original are vastly expanded—Katherine, a divorcee, has two young kids—in order to transform an edgy sex comedy into a "family film."

The structural alterations, however, pale in comparison to the tonal ones. Cactus Flower was not a "serious" movie, but it was a grown-up one. Just Go With It, by contrast, offers an interminable (and, for our purposes, necessarily incomplete) litany of jokes about breast implants, penile implants, butt implants, erectile dysfunction, irritable bowel syndrome, testicular injuries, erections, masturbation, overweight women, old women, women with big noses, men with big noses, gay men, lazy Hispanic nannies, lazy Hawaiian nannies, sex with sheep, mouth-to-mouth resuscitation of sheep, coconuts rubbed against breasts, coconuts rubbed against crotches, coconuts gripped between ass-cheeks, hands accidentally placed upon boobs, hands accidentally placed in toilets, hands accidentally shit upon, precocious children blackmailing adults, precocious children mimicking cockney accents, and precocious children dropped on their faces in the mud. There is even a scene, unconnected to any other moment in the film, in which an anonymous child hurls a soft drink on the belly of his very pregnant mother. Because, you know, it's funny. In addition to such pearls, we are, of course, treated to the wide array of random foreign and/or infantile accents that Sandler feels contractually obligated to perform.