Netflix’s “Roommates” was released on April 17 and it proved why nepotism can truly hinder the film industry.

“Roommates” is a 2026 film starring Sadie Sandler, daughter of Adam Sandler and produced by his company Happy Madison. The movie follows Devon as she navigates her complicated relationship with her roommate Celeste, played by Chloe East.

The movie is pretty bad. Like a lot of teen dramedies, it tries too hard to feel relatable and lean into “Gen Z” humor, but it never quite lands. The dialogue feels like it was written by people guessing how young people talk rather than actually understanding it. Jokes go on too long and emotional moments feel rushed or unearned.

What makes the movie especially frustrating is the clear nepotism that overshadows everything else. Sandler’s acting is not completely unwatchable, but it lacks the range needed to carry a film like this. There are moments where it feels like the script bends around her instead of pushing her. Scenes feel like they exist just to give her something to do rather than to move the story forward.

One of the most obvious examples is a spring break scene in Florida where Devon suddenly performs a song. It feels completely out of place and adds nothing to the plot. Instead, it comes across as a forced attempt to showcase Sandler’s singing, which is not strong enough to justify the moment. Scenes like this pull viewers out of the story and make it hard to stay invested.

Because of this, the more interesting parts of the film never get the attention they deserve. At its core, “Roommates” has a genuinely compelling premise. The idea of a friendship turning toxic, especially in such a close living situation, could have explored deeper emotional tension and personal insecurity. Instead, those ideas are brushed aside in favor of surface-level conflict and predictable drama.

East’s character Celeste is one of the biggest missed opportunities. Her character hints at complexity, but the film never fully explores it. There are moments where it feels like the story could shift and give her more depth, but it always falls back into shallow humor. The film leans heavily on jokes that do not land, which undercuts any emotional weight it tries to build.

Some of those jokes also feel outdated and out of touch. There is an insensitive joke about retail workers toward the end that feels unnecessary and poorly timed. A few comments about Devon’s brother rely on tired stereotypes, which makes the film feel even more disconnected from the audience it is trying to reach.

It also never really builds tension in a way that feels believable, which is surprising given the premise. Scenes that should feel uncomfortable or intense are brushed off too quickly, making the conflict feel flat.

There is a version of this movie that could have said something meaningful about living with someone who slowly becomes a stranger, but that version never shows up here.

By the end, “Roommates” feels like a missed opportunity. It had the foundation for something sharper and more honest, but it never commits to that direction in a meaningful way. Instead, it settles for forced humor and uneven performances that make the film easy to forget as soon as it ends.