Adam Sandler is about to be quarantined to the Internet.

In an effort to rescue the comedy star from himself, Netflix announced a four-movie deal with Sandler's production company, Happy Madison.

It's the latest move by the streaming service to create original content to rival the output of major movie and television studios. Last week, Netflix announced a "Crouching Tiger, Hidden Dragon" sequel that would debut simultaneously on Netflix and scattered IMAX screens across the country in 2015.

At this point, however, I'm failing to see how Sandler and an unwanted sequel to a 15-year-old movie will establish Netflix's legitimacy as a major film studio.

Sandler's career descent is well documented, and there are plenty of critics rooting against him. I haven't enjoyed a Happy Madison production in a long time, as he's long exhausted the goodwill from "Billy Madison," "The Wedding Singer" and "Happy Gilmore."

The decades-long critical drubbing is finally hurting his box office clout. Outside of the inexplicable success of those awful "Grown Ups" non-movies, his last few films are the least attended of his career.

That doesn't mean he can't be a capable actor. He's quite good in off-kilter fare like "Punch-Drunk Love," "Reign Over Me" and "Funny People," and he'll appear this month in "Men, Women & Children" from "Juno" director Jason Reitman.

Point being, Sandler can be utilized within the vision of a good script or capable director. But Netflix is asking for Happy Madison productions, which are mostly centered on the very terrible ideas inside Sandler's brain.

Case in point: "That's My Boy," "Jack & Jill," "Click," "You Don't Mess with the Zohan," "Grown Ups," "Grown Ups 2," non-Sandler-starring movies like "Zookeeper," "Paul Blart: Mall Cop" and pretty much everything starring Rob Schneider.

This year's "Blended," now on home video, is especially troubling. While it's a few notches above things like "Grown Ups" in that it tries to tell a story, "Blended" is a movie built entirely out of the goodwill of "The Wedding Singer" and the previous chemistry of Sandler and Drew Barrymore.

"Blended" is simple in premise: Widower Sandler and divorcee Barrymore have an awful blind date, Sandler and Barrymore take families to posh South African resort, Sandler and Barrymore interact with broadly drawn stereotypes and CGI animals.

The comedic beats in "Blended" are scattershot. No surprise there. The new offense is how the movie doubles down on faux sentiment in trying to re-spark the Sandler-Barrymore dynamic. We get all the amateur drama bullet points: Dead spouse. Check. Boyish daughter fixes her hair and becomes pretty. Check. Clueless glutton vs. tightly-wound nag who eventually fall in love. Check and ugh.

You can argue "The Wedding Singer" hinges on the nostalgia of its time period (both the '80s setting and its late-90s release date). At least that movie allows its characters to blend (pun intended) without half-conceived plotting or meandering sight gags.

Even the second Sandler-Barrymore teaming, 2004's "50 First Dates," finds interesting ways to test their onscreen dynamic. In "Blended," we get phoned-in performances of shapeless characters. But hey, you get throwaway gags of jungle animals having sex. And ostrich rides.

"Blended" is two hours long, and it takes 33 minutes to get the characters to Africa. The people at Happy Madison can't even contain this insanity in the editing room anymore.

I get the feeling Netflix won't be providing much of a filter for Sandler and Happy Madison. This new deal is just the continued capitalization of things we liked before. It's OK to spend millions of dollars on half-shaped ideas as long as it has an echo of "Happy Gilmore" or reference to "The Wedding Singer."

There's not much point to be frustrated. This behavior isn't anything new. At least now Sandler's antics won't be clogging up movie theater screens for a couple years.

Tyler Wilson can be reached at [email protected].