The Hangover: Part II (2011)
When you’re responsible for the highest-grossing R-rated comedy of all time, a film that grossed over half a billion dollars worldwide, then you don’t want to tinker with a winning formula of a surprise hit. Naturally, with that kind of money, a sequel was inevitable. Director/co-writer Todd Phillips (Old School, Due Date) is back and so is everybody and everything else. You’ll get a strong sense of déjà vu watched The Hangover: Part II. That’s on purpose. This calculated, rather soulless cash-grab sequel wants to recreate the organic experience of the first film. If you played The Hangover and The Hangover: Part II on simultaneous TVs, I would not be surprised if the same plot points happened at the exact same minute-marks. It might even be like a Pink Floyd/Wizard of Oz experience. I paid twice to see the same movie two years apart.
Stu (Ed Helms) is about to get married in Thailand to Lauren (Jamie Chung). Our favorite wound-up dentist is apprehensive about any sort of bachelor party shenanigans after the events of two years ago in Las Vegas. His pals Phil (Bradley Cooper), Doug (Justin Bartha), and the socially inept Alan (Zack Galifianakis) make the trek to attend the festivities. For Alan, it’s a reunion of the Wolfpack and an excuse finally to venture out of his parent’s home. Stu has some ground to make up with his bride-to-be’s father. Her father seethes about the prospect that his beautiful daughter is going to marry Stu, a man he compares to watered down rice. Lauren’s younger brother, Teddy (Mason Lee), a pre-med student and concert cellist, is left to the Wolfpack’s care the night before the wedding. They’ll just have one drink on the beach. What’s the worst that could happen? Flash to the next morning. The guys awaken in a strange apartment. Teddy is missing and missing a finger as well. Stu, Phil, and Alan must once again retrace their steps and solve the mystery of their hard-partying antics before the wedding ceremony.
The Hangover: Part II is a carbon copy of the original. Because the same joke is just as funny the second time around, right? This empty enterprise gives its audience exactly what they want, which is precisely the same experience they had with the first film. But so much of comedy is predicated on surprise, so how can you recreate the experience of discovery that people so heartily enjoyed with the first film? The Hangover: Part II is like a cheap comedy Mad Libs game: it reuses the same gags and just fills in the blanks. Hey, if Joke A worked before, why couldn’t we just have Joke A in this different location (instead of two guys walking into a bar, they walk into a different bar)? It’s like somebody copied and pasted the screenplay from the original movie, changed the locations and minor details, and cashed a check. Let me get into how stunningly indolent the screenwriting is (small spoilers to follow). Once again a person in their group goes missing before a wedding. Once again Stu has some self-inflicted wound to his face. Once again the guys have stolen someone else’s unorthodox pet. Once again they find themselves with a ward (baby in first film, Mr. Chow in second). Once again Stu has gotten involved with a prostitute. Once again Alan was secretly responsible for their drugging. Once again Justin Bartha gets left out of the escapades. Once again Mr. Chow shows his junk for shock value. Once again Mr. Chow jumps out of a locked container attacking the guys. Once again the guys have to return money to a gangster. Once again Stu plays a song of his own creation bemoaning their situation. Once again they have to race to the wedding minutes away. Once again we have a Mike Tyson cameo. Once again the guys find pictorial evidence of their debauchery and they play over the credits. Even directing touches like a time-lapse high-rise shot passing the time before they wake up is reused.
That’s what kills the movie is the lack of surprise. It throws the guys into a different setting, gets darker and meaner, but it’s rarely funny. I was surprised how many jokes left me in stony silence. Phillips and his screenwriters have gotten into the trouble of having to top themselves, so they rely on the “bigger is better” approach to match the outrageousness of the original. If Las Vegas is Sin City, then what would be even seedier? Bangkok, of course. Where would they go for a third film? What gets seedier than Bangkok (The Hangover 3 to be set in Rep. Anthony Weiner’s office). Yet the film curiously ignores much of what makes Bangkok the world’s preeminent hotspot in the sexual trades. The payoffs are darker and lack the bemusement of the original. Knowing some guy is missing a finger is not as whimsical as somebody missing a tooth. The movie has an unpleasant homophobia to it thanks to male genitalia being used to shock and horrify and humiliate. The horror of being involved with transsexual women made my theater audience groan with extra relish, like the presence of a penis or homosexual content makes everything automatically more disgusting to the common people, as if anything gay is the worst thing that could possible befall a man. Mr. Chang is an odious and fairly unfunny stereotype, and Jeong (Role Models, TV’s Community), so funny in just about every other role he’s ever had, is a braying, high-pitched annoyance. This go-round the jokes feel stale, the characters feel tired, and the payoffs seem too mean-spirited to be satisfying.
When you have a movie where the comedy is situation-based, then those situations better be funny because the characters are only serving as a means to an end. The premise allows the filmmakers to have it both ways. They can fulfill the hedonistic spectacle that will make people blush, and at the same time they can have button-uped, likable, relatively relatable nice characters that an audience will root for. If we watched these characters acting like irredeemable morons, then audience sympathy would wan. But having the guys investigate their previous dirty deeds, and react in horror, does not lessen audience sympathy. I enjoyed how the main trio played off each other in the first Hangover, and the central mystery was a solid glue to hold together a loose collection of mostly worthwhile gags. Just as the first film fell short of its potential, so too does the second movie. A monkey serves little purpose other than to get it to do things that seem outrageous just because it’s a monkey (it smokes, it mimes oral sex – hilarious!). But the second time around, the amusement of seeing Stu fly off the handle, or listen to Alan’s moony non-sequitors, doesn’t have the same draw. Galifianakis (Due Date) made the film watchable for me despite the fact that the screenplay makes his character a petulant and highly irritating character rather than a man-child doofus. And the women are once again relegated to the sidelines when it comes to being in on the comedy.
For The Hangover‘s legions of fans, more of the same will likely be exactly what was desired. But without the cheeky element of surprise, the comedy just seems like it’s hitting pre-ordained stops according to its formulaic cheat sheet. For the original Hangover I wrote: “Let’s face it; once you know the solution to the mystery and all the surprises, will this movie still play out as funny? …But once you knew who was behind what, and how the whole game was staged and operated, could you even watch the movie a second time? Would it still work now that a repeat viewer knew all the secrets? Does this comedy have a built-in expiration date?” Well, The Hangover: Part II is the answer. If the first film was a comedy with an expiration date, then The Hangover: Part II is one comedy that’s gone rancid.
Nate’s Grade: C-
Posted on June 29, 2011, in 2011 Movies and tagged bad movies, bradley cooper, comedy, dark, ed helms, ken jeong, paul giamatti, sequel, todd phillips, zach galifianakis. Bookmark the permalink. Leave a comment.