Production Budget Analysis

The production budget for The Week Of (2018) has not been publicly disclosed.

CAST: Adam Sandler, Chris Rock, Steve Buscemi, Rachel Dratch, Allison Strong, Roland Buck III DIRECTOR: Robert Smigel CINEMATOGRAPHY: Federico Cesca MUSIC: Rupert Gregson-Williams PRODUCTION: Happy Madison Productions

Box Office Performance

Theatrical box office data is not publicly available for The Week Of (2018). This may indicate a limited release, direct-to-streaming, or a release predating modern box office tracking.

Profitability Assessment

Insufficient publicly available data to assess profitability.

INDUSTRY IMPACT

PRODUCTION NOTES

▸ Production

Principal photography began on Long Island, New York, in July 2017.

AWARDS & RECOGNITION

No awards data currently available for this title.

CRITICAL RECEPTION

The film received negative reviews from critics. On review aggregator website Rotten Tomatoes, the film holds an approval rating of 26% based on 27 reviews, and an average rating of . The site's critical consensus reads, "The Week Of suggests promise in further collaborations between Sandler and Robert Smigel, but its shopworn premise and listless execution aren't enough to recommend it." On Metacritic, the film has a weighted average score of 41 out of 100, based on 11 critics, indicating "mixed or average reviews".

Richard Roeper of the Chicago Sun-Times gave the film 1.5 out of 4 stars, calling it lazy and saying: "Sandler gives a relatively restrained performance as the well-meaning dad. Rock seems barely invested in paying attention to the other actors, and reads his lines as if he’s hoping there won’t be another take and he won’t have to go through this again. Even with helpful title cards telling us it’s 'MONDAY,' 'TUESDAY,' etc., etc., this is a week that feels 10 days long." Peter Debruge, writing for Variety, called the film "lazy and overlong" and said: "Back in autopilot mode, Sandler phones in what may qualify as the lowest-concept comedy of his career—which, thankfully, is not the same as the lowest point in his career (that would be Jack and Jill, the cross-dressing debacle that began the downward slide that landed him at Netflix in the first place)."