--- title: "Click" year: 2006 kind: "film" canonical: "https://film.one/film/click" fi1m_id: "click" imdb_id: "tt0389860" tmdb_id: 9339 wikidata_id: "Q496654" fi1m_score: 58 critics_score: 55 critics_reviews: 11 published: "2026-10-05T04:49:56.547715+00:00" updated: "2026-10-05T04:49:57.039719+00:00" region: "SI" licence: "© Fi1m Ltd. Written by AI under a human editor; checked against sources before publication. Quote with attribution and a link to the canonical URL." --- # Click (2006) Directed by Frank Coraci · 1h 47m · Comedy, Drama, Fantasy ## Identity Click - **Canonical:** https://film.one/film/click - **Type:** Film - **Fi1m ID:** click - **IMDb ID:** tt0389860 - **TMDB ID:** 9339 - **Wikidata ID:** Q496654 - **Same entity:** https://www.imdb.com/title/tt0389860/, https://www.themoviedb.org/movie/9339, https://www.wikidata.org/wiki/Q496654 **Fi1m score: 58** · Critics 55 from 11 reviews *In a sentence:* We could have used that remote during several of the jokes > *Click* has an inventive premise, a welcome oddness from Christopher Walken and moments of affecting family drama. Too much crude comedy and insistent sentiment keep Frank Coraci’s fantasy from making enough of its idea. ## Synopsis Michael Newman (Adam Sandler) has a universal remote that controls his universe, not just the television. He wants the convenience it promises, but using it means choosing which parts of his life deserve his attention. Donna Newman (Kate Beckinsale) is part of the family affected by those choices, while Morty (Christopher Walken) brings an unsettling presence to Michael’s dealings with the device. Michael can treat daily life like a television programme. His family still needs his attention, and the remote’s promise of an easier life brings complications: he must decide how much he is prepared to miss. ## Review *Click* has a good idea for a fantasy comedy and too many poor jokes to make proper use of it. Frank Coraci directs Adam Sandler as Michael Newman in a story built around a universal remote that can control its user’s universe. We can see the appeal without needing much persuasion: most of us have something we would rather get past. The film is mixed, occasionally affecting and too eager to insist on a family lesson that scarcely needs explaining. Steve Koren and Mark O’Keefe have written a wish-fulfilment story with room for unease as well as laughter. A device that can make life more convenient also raises a useful question about how much of that life we might be willing to miss. The screenplay understands the danger well enough to find some disturbing possibilities in its central idea. It is less disciplined about deciding which jokes and lessons belong, and the 107 minutes feel overfilled. Christopher Walken, as Morty, is the most reliable reason to stay with it. His performance has an odd, faintly threatening energy that suits a story in which an appealing device can become disturbing. He makes the fantasy feel less safe without requiring the film to stop being a comedy. Kate Beckinsale, as Donna Newman, also does useful work, bringing some steadiness to material that keeps changing its mind about how seriously it wants to be taken. Adam Sandler is more convincing when the film lets Michael Newman seem desperate. We were moved by his desperation in the straight-played family scenes, which allow Michael Newman to seem vulnerable without making that vulnerability another joke. The feeling is modest but recognisable, and it makes the consequences of using the remote matter. It also makes the earlier comedy harder to excuse: a leading character this difficult to warm to needs better writing if we are to enjoy his company. Dean Semler’s cinematography and Perry Andelin Blake’s production design keep the fantasy legible, but the remote supplies most of the visual interest. It is an object whose promise needs no explanation: press something and get a response. Applying that familiar operation to an entire life gives the film plenty of possibilities for visual jokes. The disappointment is how often the writing falls back on coarse business that could have appeared in any number of comedies. Jeff Gourson’s editing cannot reconcile the quick-payoff comedy with scenes that need time for feeling to develop. The changes remain awkward, and the sentimental passages demand more sympathy than the comedy has prepared us to give. Rupert Gregson-Williams’s music adds to the pressure when the performances would be better left to do the persuading. The insistence makes the family lesson feel less convincing precisely when the film most wants it to matter. There is nothing wrong with a broad comedy asking us to take a family seriously. Here, however, Frank Coraci asks for more sympathy than the earlier jokes have helped him earn, and explaining the lesson harder does not solve that. Anyone drawn chiefly to the remote-control idea should expect a substantial helping of moral instruction alongside it. If coarse humour is already an obstacle, the sincere passages are unlikely to repay the patience required. *Fi1m score 58, published 5 October 2026.* ## What the critics say The consensus on Click is mixed, with critics finding promise in its remote-control premise but uneven results from its blend of broad comedy and family sentiment. Praise clusters around the idea’s inventive, sometimes nightmarish possibilities and Christopher Walken’s performance, which several reviews identify as a bright spot. Some also find warmth and emotional force beneath the cruder jokes, though enthusiasm for Adam Sandler’s performance is limited. The sharpest divide concerns the sentimentality: what moves some critics strikes others as sugary or overearnest. Empire is the most favourable, finding an amiable, moving comedy despite an uneven first half and an overfilled script. Variety is much harsher on the comedy but still values the straight-played family drama, so even a negative verdict contains substantial praise. Radio Times finds Sandler unusually unlikeable and the supporting cast hampered, while other reviews respond to his vulnerability. ## Straight answers **Is Click worth watching?** *Click* offers enough for viewers drawn to broad fantasy comedy, but we find it too uneven to recommend without reservations and score it 58/100. Christopher Walken’s unsettling oddness and Adam Sandler’s affecting family scenes give it some value; the coarse jokes and insistent moral lesson waste much of the remote-control premise. **How long is Click, and what is it rated?** *Click* runs 1h 47m. It is a comedy and drama film. **Where can I watch Click in Slovenia?** *Click* is streaming on HBO Max in Slovenia. Availability is checked daily; the links above go straight to each service. **How violent or frightening is Click, and is it suitable for children?** *Click* carries a UK 12 certificate, so it is not a suitable default choice for younger children despite its playful remote-control premise. The main cautions we identify are coarse humour, disturbing possibilities in the fantasy and emotionally difficult family scenes; Walken’s faintly threatening presence also makes the comedy feel less safe. **How does Click compare to It's a Wonderful Life?** *Click* is the cruder, less emotionally convincing choice beside [*It's a Wonderful Life*](https://film.one/film/its-a-wonderful-life), which we recommend more readily for its treatment of family responsibilities. Both use fantasy to reconsider ordinary life, but *Click* awkwardly joins broad jokes to earnest lessons, while James Stewart makes the sentiment in Frank Capra’s film feel earned despite some overinsistent whimsy. **What should I watch after Click?** After *Click*, try [*It's a Wonderful Life*](https://film.one/film/its-a-wonderful-life) (1946, Fi1m 91): Another fantasy about ordinary responsibilities, with the family feeling more securely earned. Then [*Groundhog Day*](https://film.one/film/groundhog-day) (1993, Fi1m 88): A comic time trap that gives its difficult leading man room to change; and [*Big*](https://film.one/film/big) (1988, Fi1m 81): A wish granted too literally, with warmth that survives the broad comedy. ### Reviews we read (11) - **Empire**, Sam Toy (70/100, inferred): The review finds Click an amiable, moving comedy that works despite its uneven first half. It praises Kate Beckinsale’s performance and says the overfilled script could have been more streamlined. [Read](https://www.empireonline.com/movies/reviews/click-review/) - **Screen Daily**, John Hazelton (64/100, inferred): The page confirms a review, but the review text is inaccessible. Its verdict and specific praise or complaint cannot be determined from the available text. [Read](https://www.screendaily.com/click/4027752.article) - **The New York Times** (64/100, inferred): The page is inaccessible, so the critic’s verdict cannot be determined. No specific praise or complaint is available from the text provided. [Read](https://www.nytimes.com/2006/06/23/movies/23clic.html?mcubz=1) - **Time Out**, Trevor Johnston (64/100, inferred): The available page text does not reveal the critic’s verdict. It also does not show what the critic singles out for praise or complaint. [Read](https://www.timeout.com/movies/click-2) - **RogerEbert.com**, Roger Ebert (2.5/4): Ebert finds the comedy amusing at first but says it falters as it turns sentimental. He singles out Christopher Walken’s energetic performance as a bright spot. [Read](https://www.rogerebert.com/reviews/click-2006) - **The Guardian**, Peter Bradshaw (60/100, inferred): Bradshaw finds the film a goofy, sentimental improvement over Sandler’s earlier attempt at Capra-style comedy, though it remains flawed. He praises its moments of good-natured sweetness while criticizing Sandler as conceited and opaque. [Read](https://www.theguardian.com/film/2006/sep/29/comedy) - **Total Film**, Total Film (3/5): The critic finds Click uneven, with a strong central idea undermined by gross-out comedy and sugary sentiment. They praise its inventive uses of the remote-control premise, especially when the story explores its nightmarish consequences. [Read](https://www.gamesradar.com/click-review/) - **Radio Times**, John Ferguson (2/5): Ferguson finds the fantasy comedy undermined by queasy sentimentality and calls Sandler unusually unlikeable. He also notes that the starry supporting cast struggles to make much headway. [Read](https://www.radiotimes.com/movie-guide/b-uvkb6k/click/) - **Variety**, Justin Chang (30/100, inferred): Chang finds the comedy conspicuously unfunny, despite a cleverly conceived premise and a strong turn toward family drama. He praises the later, straight-played scenes for extracting unexpectedly resonant moments from the story’s family lessons. [Read](https://variety.com/2006/film/markets-festivals/click-1200515222/) - **Slant Magazine**, Nick Schager (1/4): Schager pans the film as a narrow, puerile comedy that collapses into overearnest schmaltz. He singles out Christopher Walken’s bizarre, inventive performance as a rare bright spot. [Read](https://www.slantmagazine.com/film/click/) - **Eye for Film**, Jennie Kermode (65/100, inferred): Kermode finds the film a flawed but entertaining comedy that rises above familiar material. She praises Christopher Walken’s sinister performance and Sandler’s portrayal of Michael’s desperation and vulnerability. [Read](https://www.eyeforfilm.co.uk/review/click-film-review-by-jennie-kermode) ## Details - **Director:** Frank Coraci - **Director:** Frank Coraci - **Writer:** Steve Koren, Mark O'Keefe - **Cinematography:** Dean Semler - **Editor:** Jeff Gourson - **Music:** Rupert Gregson-Williams - **Production design:** Perry Andelin Blake - **Costume design:** Ellen Lutter - **Producer:** Jack Giarraputo, Steve Koren, Neal H. Moritz - **Cast:** Adam Sandler as Michael Newman; Kate Beckinsale as Donna Newman; Christopher Walken as Morty; David Hasselhoff as Ammer; Henry Winkler as Ted; Julie Kavner as Trudy; Sean Astin as Bill; Joseph Castanon as Ben at 7 years old - **Runtime:** 1h 47m - **First release (the US):** 23 June 2006 - **Genres:** Comedy, Drama, Fantasy - **Budget:** $82 million - **Box office:** $241 million - **Trailer:** https://www.youtube.com/watch?v=APUqyhgtCfk ## Where to watch in Slovenia - HBO Max: streaming *Checked 2026-10-05.* Also available in: AE, AR, AT, AU, BE, BG, BR, CA, CH, CL, CO, CZ, DE, DK, EC, EE, ES, FI, FR, GB, GR, HK, HR, HU, ID, IE, IL, IN, IS, IT, JP, KR, LT, MX, MY, NL, NO, NZ, PA, PE, PH, PL, PT, RO, RS, SE, SG, SI, TH, TR, UA, US, VN, ZA. Add `?region=XX` to this URL for another country. ## Awards - Academy Awards 2007: Best Makeup and Hairstyling (nominated) - Kids' Choice Award for Favorite Movie 2007: Kids' Choice Award for Favorite Movie (nominated) ## If you liked this - *It's a Wonderful Life* (1946), Fi1m 91: Another fantasy about ordinary responsibilities, with the family feeling more securely earned. — [Fi1m page](https://film.one/film/its-a-wonderful-life.md) - *Groundhog Day* (1993), Fi1m 88: A comic time trap that gives its difficult leading man room to change. — [Fi1m page](https://film.one/film/groundhog-day.md) - *Big* (1988), Fi1m 81: A wish granted too literally, with warmth that survives the broad comedy. — [Fi1m page](https://film.one/film/big.md) - *After Life* (1998), Fi1m 85: For the questions about time and memory, approached with far more patience. — [Fi1m page](https://film.one/film/after-life.md) - *About Time* (2013), Fi1m 66: Time manipulation and family feeling, with an equally open appetite for tears. — [Fi1m page](https://film.one/film/about-time.md) --- © Fi1m Ltd. Written by AI under a human editor; checked against sources before publication. Quote with attribution and a link to the canonical URL. Canonical: https://film.one/film/click