Film
Heavyweights
- Comedy
- Light-hearted
A 1995 family comedy about overweight kids at summer camp who stage a rebellion against a tyrannical new owner bent on transforming them through extreme fitness. Surprisingly tender underneath its broad humor, it actually listens to its young characters and treats their bodily autonomy with respect. Warm, silly, and genuinely on the kids' side.
Should you watch it?
Watch it if you enjoy gentle, big-hearted comedy about underdogs turning the tables on a bullying adult, with silly set pieces and a warm affection for its misfit campers.
Skip it if you want sharp, grown-up satire; this one is broad, loud and happy to be silly, built on one simple premise stretched across the whole runtime.
What it asks of you: A brisk ninety-seven minutes, light and played for laughs, asking little more than a willingness to switch off and let the broad gags land.
Not sure? Find tonight's pick in a minute.
If you liked this
The Mighty Ducks1992
Underdog kids sports comedy with real heart. A gruff mentor learns to see potential in unlikely heroes, and the film trusts its young cast to carry genuine emotion alongside the laughs.
But The hockey sequences are dated, and some of the broad comedy feels very early-'90s. It's earnest in ways that can read as sappy.

D2: The Mighty Ducks1994
Doubles down on the ensemble charm and the genuine affection between coach and kids. More ambitious in scope, still silly, and the camaraderie actually feels earned.
But The plot is thinner and the joke-per-minute ratio drops. Some subplots don't land. It's very much a middle entry in a trilogy.

Cool Runnings1993
Jamaican bobsled underdogs tackle an impossible dream with charm and spirit. Funny, touching, and completely unpretentious about caring deeply about its characters' success.
But The sports movie beats are very familiar. Some humor relies on broad stereotypes, though the film's heart is absolutely genuine.

Not sure tonight? Get a pick in a minute, starting from Heavyweights
The wildcard
Something you would not have found on your own.
Pumping Iron II: The Women1985
Both films interrogate what 'fitness' really means and who gets to judge bodies. Both have an undercurrent of sadness about shame, and both ultimately argue for bodily autonomy and joy over punishment.
A documentary about female bodybuilders in the 1980s that becomes a meditation on bodies, ambition, and who gets to define strength. It's deadpan, funny, and genuinely philosophical without ever breaking character.
But It's a documentary about competitive bodybuilding, which sounds niche. Long, contemplative, sometimes uncomfortably focused on bodies in ways that can feel clinical or uncomfortable.

More like this (8)
The Sandlot1993
Kids' summer adventure that nails nostalgia, friendship, and the pure joy of play. Quotable, warmly funny, and genuinely moving about growing up and letting go.
But The cinematography is soft-focus nostalgic to the point of sugar-coating. Some plot threads exist only to set up jokes.

Home Alone1990
A kid protagonist you actually root for, inventive comedy that delights in showing you exactly what's happening, and genuine stakes alongside the silliness.
But Watching elaborate violence inflicted on burglars becomes repetitive. The emotional beats can feel manipulative on rewatches.

Matilda1996
A child hero who solves her own problems through wit and determination. Visually playful, funny for adults, genuinely empowering without being sanctimonious.
But Danny DeVito's direction is uneven. The film gets darker than you might expect from a kids' movie, which some find jarring.

Mrs. Doubtfire1993
Robin Williams as a father fighting to stay in his kids' lives. The comedy is strong, but it's really about love and the lengths we go to for family.
But The premise hasn't aged perfectly in terms of gender comedy. The tonal shifts between humor and sadness can feel abrupt.

Beethoven1992
Family chaos with a dog. Loud, silly, and completely comfortable being unambitious—it knows exactly what it is and executes it well.
But The humor is broad to the point of bluntness. The plot mechanics creak audibly. It's deeply uncool and unapologetic about it.

Blank Check1994
Kid gets a blank check and uses it to build his dream house. Pure fantasy wish-fulfillment, imaginative production design, and a genuinely likable lead who doesn't feel like he's acting.
But The plot is tissue-thin. The villain is barely a character. It exists to show cool stuff happening, with story as an afterthought.

Matinee1993
Both are about finding community and joy in spaces that aren't supposed to have any—and both trust that these moments matter more than discipline or external judgment.
A love letter to the pleasures of cinema itself, set during the Cuban Missile Crisis. Shot through with affection for kid-culture, B-movies, and the escape movies provide. Hilarious, strange, weirdly moving.
But The plot is a collection of tangents held together by theme rather than narrative drive. It's genuinely weird in ways that will confuse some viewers. Hard to categorize.

A Serious Man2009
Both films are about systems failing young people—whether it's a fat-camp dictatorship or the entire American promise. Both find humor in the absurdity of it, and both argue that joy and friendship are acts of resistance.
The Coen Brothers make a film about a man's life falling apart that is also, bizarrely, an American Jewish coming-of-age story. Darkly funny, formally ambitious, and genuinely about the gap between what we're told will happen and what actually does.
But It's bleak, philosophically frustrating, and offers no clear resolution. Tonally it's mercurial—part comedy, part existential crisis. The Coens don't make it easy.

People
Cast
- David GoldmanNicholas
Tom McGowanPat- Cody BurgerCody
Aaron SchwartzGerry
Allen CovertKenny
Tim Blake NelsonCamp Hope Salesman
Leah LailJulie
Ben StillerTony Perkis / Tony Perkis Sr.
Shaun WeissJosh
Tom HodgesLars
Directing
- Steven BrillDirector
- David B. HouseholterFirst Assistant Director
- Rebecca PoulosScript Supervisor
- Richard OswaldSecond Assistant Director
- Merrilee DaleSecond Second Assistant Director
- Steve BoyumSecond Unit Director
- Alan HopkinsSecond Unit First Assistant Director
Writing
- Judd ApatowWriter
- Steven BrillWriter
Production
- Candisse ReynoldsAssistant Location Manager
- Christine FransenAssistant Production Coordinator
- Jack GiarraputoAssociate Producer
- Judy TaylorCasting
- Lynda GordonCasting
- Schuyler KentCasting Assistant
- Charles J.D. SchlisselCo-Producer
- Michael FottrellCo-Producer
- Judd ApatowExecutive Producer
- Sarah BowmanExecutive Producer
- Kwame L. AbernathyLocation Assistant
- Shirley Fulton CrumleyLocation Casting
- George BosleyLocation Manager
- Mark A. DixonLocation Manager
- Joe RothProducer
- Roger BirnbaumProducer
- Katie Willard TroebsProduction Coordinator
- Katherine E. BeydaProduction Supervisor
- Charles J.D. SchlisselUnit Production Manager
- Michael FottrellUnit Production Manager
Recommended by
Big Momma's House, The Fan, Greener Grass, Troop Beverly Hills, Unaccompanied Minors, Bully, Harriet the Spy, Ernest Goes to Camp, The Big Green, Bad Apples, Tiny Fugitives, Camp Nowhere