Still recuperating from his most recent big screen disaster “Jack and Jill,” “That’s My Boy,” seems another futile attempt by Adam Sandler to reclaim his long-lost respect and credibility.

I have to say I was hesitant to see the film, and for good reason.

It seems that Sandler has lost touch with the comedic base of his early career, choosing to resort to crude humor as a means of staying relevant.

“That’s My Boy,” also starring Andy Samberg, received mostly gloomy reviews, making a dismal $13 million in its opening weekend (to put that in perspective, “Jack and Jill” made $25 million.)

For the most part, however, Sandler fans seem to disagree with the critics, rating it significantly higher than most professional reviews.

Both respective camps are justified in their claims, though.

“That’s My Boy” is a testament to the recent downfall of Sandler’s career, playing on immature and physical humor to generate cheap laughs.

The film’s plot is predictable, to say the least.

The stereotypical Bostonian accent which Sandler carries throughout the film only draws attention from other characters, and seems a new low in his quest for comedic originality.

The constant barrage of cameos takes away from the plot’s credibility, ultimately resorting to forced laughs and unoriginal characters.

However, at the end of the day, cheap laughs are laughs nonetheless.

While critics may point to the array of the film’s glaring flaws, it still succeeds in its main purpose: entertainment.

Sandler’s accent, while irritating at first, eventually takes a back seat and is virtually unnoticeable by the time credits roll.

The ridiculous amount of cameos, while indicative of the film’s unoriginality, are still somehow hilarious.

Vanilla Ice, who sees a significant amount of screen time, plays on the stereotypical lives of ex-stars after their 15 minutes of fame dry up.

Nick Swardson plays an equally ridiculous strip club pervert, and although his character is absolutely unnecessary, it is the over-the-top scenarios in “That’s My Boy” that make the film surprisingly entertaining.

The thought of New York Jets coach Rex Ryan appearing on the big screen may seem a leap to most moviegoers, yet his role as a New York lawyer with a concerning love for Tom Brady is quite funny.

Samberg’s role is surprisingly refined as well.

Playing Sandler’s nervous, anxiety-ridden son, Samberg moves away from the slapstick comedy that he gave us through Saturday Night Live and his infamous Youtube parodies.

Ultimately, his role is the most successful of the cast, drawing little attention from the plot while remaining subtly entertaining.

Unfortunately, Sandler’s character does little to enhance the humor in “That’s My Boy.”

Instead, it is the ridiculous array of cameos that make the film funny.

Baron Davis, Ciara, Todd Bridges, Dan Patrick—these seemingly innocuous roles grant the film most of its humor.

Without them, “That’s My Boy” wouldn’t be nearly as successful.

The film has some obvious flaws, and for the most sincere Sandler fans, it might only serve as another milestone in Sandler’s fall from comedic grace.

For those hoping for deep and meaningful cinema, I’d stay away from “That’s My Boy”—it’s R-rated immaturity catered to younger and profane audiences.

That being said, “That’s My Boy” is still entertaining.

It may not be worth paying today’s expensive theater ticket prices, but for those seeking cheap laughs and quick entertainment, the film is worth seeing, although I’d wait until it hits Redbox or OnDemand.

And for those still hesitant to rent the movie, remember one thing– Leighton Meester.