THE HANGOVER PART II: The Film Babble Blog Review

THE HANGOVER PART II (Dir. Todd Phillips, 2011)

The sequel to the largest grossing R-Rated comedy of all time is exactly everything I thought it would be. I haven't seen such a blatant retread of a huge hit's premise and jokes since AIRPLANE II: THE SEQUEL.

Again we have Bradley Cooper, Zach Galifianakis, and Ed Helms playing the man-child protagonists who wake up to find themselves in way over their heads after a night of stag party debauchery. I actually recycled that sentence largely from my review of the first one - I figure if they can recycle it, so can I.

This time the guys are in Bangkok. Helms is about to get married to Jamie Chung, and Cooper, Galifianakis, and Justin Bartha are there to attend the wedding.

Chung has a disapproving father (Nirut Sirichanya) who humiliates Helms at their reception dinner, so you know Helms will stand up to him in the end.

Bartha went missing in the first one, so their idea of mixing it up is to have Chung's younger brother (Mason Lee) disappear.

The night starts at a resort in Thailand where Helms is talked into having just one beer with the "Wolfpack," as Galifianakis calls them, on the beach with a bonfire. What could go wrong?

Just like before (okay I'll stop saying that - it could get exhausting) the camera pans up to the sky and the screen fades. We flash forward and we're in a scummy hotel room in the city of Bangkok. Galifianakis's hair head has been shaved, Helms has a Mike Tyson tattoo on his face, there's a capuchin monkey jumping around, and there's a severed finger with Lee's school ring on it among all the bottles, cocaine, and other debris from the previous night.

Oh yeah, there's also the crazy coked up Ken Jeong who Galifianakis invited as his +1 to the wedding sleeping on the floor.

So the 'Wolfpack" hit the streets to figure out what happened to Lee and they wind through a convoluted scenario involving Monks, she-male prostitutes, Russian thugs, and an obligatory car-chase that includes the classically clichéd fruit cart scene.

The problem is this material is geared more for shock value than laughs. The leads have an energy going in their performances, playing amusingly off each other, but while Cooper and Helms almost overdo their effort, Galifianakis doesn't seem to care.





Galifianakis can be funny with just an expression, and his eccentric childishness has its moments, but wears thin way before the halfway mark.

In the middle of it all there's a surprising appearance by Paul Giamatti, who has a nice sharp scene or 2 - I guess to go further about it would be a Spoiler!

Otherwise, despite the absorbing locale, and a few good lines here and there, THE HANGOVER PART II is a tedious, definitively unnecessary, and supremely unsatisfying sequel.

Actually the photos showing what happened during the guys' blackouts during the end credits are kind of funny, but again that's something they did in the first one.

More later...

DUE DATE: The Film Babble Blog Review

DUE DATE (Dir. Todd Phillips, 2010)

As surely every critic has said this is essentially a remake of PLANES, TRAINS & AUTOMOBILES except the trains are replaced with drugs and much more scatological humor.

In the Steve Martin role is Robert Downey Jr. who is trying to get from Atlanta to Los Angeles for his wife’s c-section and he’s saddled with Zack Galifinakis in the John Candy role.

Galifianakis is an air-headed pot-smoking eccentric with a perm toting around a small dog who dreams of going to Hollywood to become an actor.

Downey Jr. is, uh, I forget his profession, but he’s an uptight jerk.

Mix in Michelle Monaghan as Downey Jr.’s pregnant wife and cameos from Jamie Foxx, Juliette Lewis, Danny McBride (the only one who’s slightly funny here), and RZA and you’ve got yourself a wasted cast.

Downey Jr. and Galifianakis wreck a rental car, get in a high speed chase in a stolen Mexican security vehicle, and get stoned as well as other not worth mentioning shenanigans.

All the while Galifianakis has his recently deceased father's ashes in a coffee can. Inevitably somebody accidentally brews it as coffee. This actually results in one of the few good lines when Galifianakis says: "Well, that's the circle of life - my father enjoyed drinking coffee, and we enjoyed my father AS coffee."

There are laughs here and there in DUE DATE, but not enough to make this anywhere near a solid comedy.

Like in “The Hangover” Phillips shoots like he’s making a drama with too many close-ups and unnecessary crane shots.

It’s the parts that try to get personal that fall flattest. The much much funnier PLANES, TRAINS, AND AUTOMOBILES had a satisfactory sentimental tone in its earned conclusion, but this film’s heart is shoehorned in.

I mean what’s the point of giving Downey Jr. a serious monologue about how his father left when he was a kid? Oh yeah, I remember – it was a set-up to a lame joke by Galifianakis about how his father wouldn’t do that because he loved him. Ugh.

There’s also the badly handled subplot that Downey Jr. gets into his mind that his wife may have cheated on him with his best friend Foxx. Again that’s only there to set up another lame joke.

Both Downey Jr. and Galifianakis are likable credible actors, but here they are 2 guys that most people would want to stay away from. The same can be said about the movie.

But hey! If you like humor about slugging kids in the gut or masturbating dogs – this may be the movie for you.

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IT'S KIND OF A FUNNY STORY: The Film Babble Blog Review

IT'S KIND OF A FUNNY STORY (Dirs. Anna Boden & Ryan Fleck, 2010)

After a couple of extremely promising dramas (HALF NELSON and SUGAR), the writing/directing duo of Boden and Fleck now give us the comic story of a suicidal teenager (Keir Gilchrist) who checks into an adult psychiatric ward.

This is because the juvenile ward is undergoing renovations, but really so he can bond with comedian Zach Galifianakis as a friendly patient with family problems.

Gilchrist hates his situation and wants out immediately but has to stay for a five day evaluation. It helps that he’s attracted to the 16 year old emotionally disturbed Emma Roberts.

Gilchrist and Roberts fall into a round-the-clock flirtation, meeting each other for art classes in which Gilchrist’s confidence is boasted when he impresses everyone with his art which the film animates.

The confused kid also impresses with his musical ability via one of the most embarrassing and unnecessary musical numbers of recent memory: a rock video sequence set to the Queen/David Bowie song “Under Pressure” complete with glam costuming, strobe lighting, and backup singer nurses that aren’t in the rest of the movie.

That’s the problem with this film – all the gimmickry. What could have been an earnest depiction of dealing with depression is yet another Wes Anderson style retread. It has all the clichés you’d expect such as a virgin lead fumbling through the advice of quirky characters that are supposed to be seriously messed up but actually are just slightly screwy.

Galifianakis is one of the best standups out there (check out “Live at the Purple Onion” if you haven’t) and also a strong supporting actor (see HBO’s Bored To Death), but this is a lazily written role. Galifianakis has a few effective moments, such as acting out a tantrum in a key scene, but try is he might this weak material never elevates above “After School Special” territory.

It’s like making a sitcom out of ONE FLEW OVER THE CUCKOO'S NEXT or GIRL INTERRUPTED. The result is to trivialize mental illness for the sake of an anything-for-a-laugh mentality.

This is apparent in the casting. Every other role is a recognizable actor or actress that do little but walk on for the purpose of familiarity. For example there’s Aasif Mandvi from The Daily Show as a doctor, Gilchrist’s parents are played by comedian Jim Gaffigan and Gilmore Girls mom Lauren Graham, Jeremy Davies (Lost) is in a nothing role as a hospital attendant, and Violas Davis (DOUBT) as a stern but, of course, fair doctor.

IT'S KIND OF A FUNNY STORY is too cutesy and clunky to hold much water. When Gilchrist and Roberts run laughing down the corridors of the hospital with a pop song (courtesy of the Broken Social Scene) pumping on the soundtrack it made my heart sink.

The notion that real despair is curable by way of a puppy love fling and bumper sticker wisdom is anything but uplifting. In fact it’s more depressing than anything anyone faces in this empty and immensely forgettable film.

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My Last Night At The Varsity Theater & THE HANGOVER

As I reported before, The Varsity Theater in Chapel Hill, N.C. is in a period of transition. The owner, Bruce Stone, is still in negotiations and nobody knows whether it'll remain open as it changes hands or if it will close unsold. This is all so timely as I will no longer be working at the theater. Since my move to Raleigh I've decided I no longer want to commute, so yesterday was my last night working my all-time favorite part-time job. We were opening 2 new movies - oddly enough both feature Mike Tyson - so I needed to change the marquee for the last time. Of course, it rained last evening (which seems to be a Thursday night tradition here) so I wasn't feeling particularly sentimental as I climbed the ladder.

All evening I fielded questions about the fate of the theater. Stone joked last weekend that our official line to everybody was: "We're confused." So we've been saying that (or variations thereof). David Fellerath wrote this insightful article in this week's Independent about not just the Varsity and its sister theater the Chelsea's fate but about the bleak business and uncertain future of independent art houses these days:

The Unknown Futures Of Chapel Hill's Varsity And Chelsea Theaters: The Moviegoer's Lament (Independent Weekly June 3rd, 2009)

Another Thursday night tradition is to have a late showing (not open to the public unless you know somebody) of the new movie that is opening the next day. I definitely wasn't going to miss the late show my last night at the Varsity:

THE HANGOVER (Dir. Todd Phillips, 2009)

"A bachelor party movie where you never see the bachelor party" is how director Phillips, responsible for the likes of OLD SCHOOL and STARSKY & HUTCH, described this Las Vegas-set silliness to The New York Times. Bradley Cooper, Zach Galifianakis, and Ed Helms play the overgrown child protagonists who wake to find themselves in way over their heads after a night of stag party debauchery. In their trashed hotel suite they find that the groom (Justin Bartha) is missing, Helms has a tooth missing, a Bengal tiger is in the bathroom, and there's a baby in the closet. They remember nothing of what happened so you might expect more than a little of DUDE, WHERE'S MY CAR? mixed with just a dash of THREE MEN AND A BABY and you wouldn't be far off.

Galifianakis, in the Belushi/Jack Black role, has the funniest lines and frequently steals the movie from his co-stars. The one-liners come fast and furious but sadly there are a lot of stale comic stylizations like, for instance, a Tarentino slow-motion group walk towards the camera with "Who Let The Dogs Out" blaring on the soundtrack. As the events of the night before are revealed there are some tasty turns - Mike Tyson, playing himself, as the tiger's owner and Heather Graham as a hooker that Helms finds he's now married to have their charms but some other plot points and clichéd character bits fall flat.

As likable as the leads are, THE HANGOVER is only fitfully funny but I would still say it's has enough genuine laughs in it to meet my comedy quota. It is a definite improvement over Phillips previous lowbrow fare as it shows he can handle natural feeling rhythms, timing, and tone. While another draft (or 2) on the screenplay probably wouldn't have made this a comedy classic, it feels a tad undercooked so this is a pretty reserved recommendation. However, I suspect it may have a re-watchability factor and that some elements might rub me better sometime down the line. Maybe, like a real hangover, when the annoying pangs wear off I'll be able to remember the best of the original buzz.

Okay! So that was my last night working at the Varsity. I'll miss working on Franklin Street and downtown Chapel Hill in general. I would usually post recent pictures of the marquee on the sidebar on this blog and that's something I'll also miss. But don't worry, this change won't affect this blog much - I love movies and will continue to see as many movies as possible and tell you what I think. I'll also keep you updated on the respective fates of the Varsity and Chelsea Theaters...so please - stay tuned.

More later...