THE HANGOVER PART II

Written by Craig Mazin, Scot Armstrong and Todd Phillips

Directed by Todd Phillips

Starring Bradley Cooper, Ed Helms and Zach Galifianakis

Alan: I wish monkeys could Skype. Maybe one day.

I must begin by stating that I was not a big fan of THE HANGOVER, the 2009 comedy sensation that would go on to become one of the biggest R-rated successes in history and put director, Todd Phillips, on the map. My expectations going into the highly anticipated sequel were pretty low, as a result. I feel very confident in saying that this time around, I will not be in the minority with my distaste.

THE HANGOVER PART II opens exactly the same way the first one does and essentially plays out the same from there on in, except with significantly less laughter. This time out, Stu (Ed Helms) is getting married and his happy cohorts, Phil and Alan (Bradley Cooper and Zach Galifianakis) are on board to attend the impending nuptials. An innocent beer on a beach in Thailand turns into a night of cataclysmically irresponsible and morally reprehensible behavior, that finds them all waking up in a Bangkok hotel room with zero recollection of how they got there and even less remorse for the damage they've done. It is then of course time to piece the evening back together again in order to find Stu’s future, teenage brother-in-law, Teddy (Mason Lee), whom the threesome have misplaced.

The original works because we’ve all been there before – well, maybe not quite there but at least some variation of that experience, where we cannot quite remember what went down the night before. Despite not being terribly likable characters, the audience can relate and wants to forgive them their foolishness, thus forgiving themselves. The fact that it has happened to them again only portrays the guys as people with serious drinking problems who have no regard for anyone other than themselves. By the time Stu declares that he can’t believe this is happening again, I would be hard pressed to find someone who didn’t agree while shaking their head in shame. I think it's time to get off the sauce, fellas.

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DUE DATE

Written by Alan R. Cohen, Alan Freedland, Adam Sztykiel and Todd Phillips

Directed by Todd Phillips

Starring Robert Down Jr., Zach Galifianakis and Michelle Monaghan

Ethan Tremblay: "Two and a Half Men" is the reason I wanted to become an actor - especially the second season.

Todd Phillips has been making male no-brainer comedies for quite some time now, with varied results. In 2008, he finally hit the jackpot, Vegas styles, with the international phenomenon THE HANGOVER. With that success, he took Zach Galifianakis’s bearded, beer-bellied buffoon and made him a comedy God in the eyes of guys everywhere and, while he was at it, made himself a bonafide player.

To the victor go the spoils and Phillips was certainly spoiled when he bagged everyone’s favorite charmer, Robert Downey Jr., opposite the aforementioned buffoon (Galifianakis) for his buddy road comedy, DUE DATE. He’s got the pedigree at his disposal – Downey Jr. doesn’t even have to try to get high-strung, expectant father, Peter Highman, down and even Galifianakis has been around enough blocks now to inject a little subtlety into his performance as wannabe actor, Ethan Tremblay – but, just like so much of Phillips’s past work, the antics are all too often just plain stupid instead of stupidly hilarious. It doesn’t help either that Ethan is so awkward at times that he goes from funny to the dreaded realm of uncomfortable.

To buy into DUE DATE, which has decent laughs but very few uproarious moments, you have to buy the really weak chain of events that sets the premise in motion. Peter ends up on a no-fly list after he and Ethan say words like “terrorist” and “bomb” a little too loud on a plane. Peter’s wife (Michelle Monaghan) is giving birth in a few days so he must get home somehow. With his wallet still on the plane, he must accept the offer to ride with Ethan and his masturbating dog, Sonny. Sure his wife could have certainly bought him a train ticket home on-line, but then we wouldn’t get to see these two polar opposites bond by living through several near-death experiences that wouldn’t have otherwise happened had they not gotten into this mess to begin with. Fortunately, the guys that Phillips is aiming for will buy into anything.

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IT'S KIND OF A FUNNY STORY

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IT'S KIND OF A FUNNY STORY

Written and Directed by Anna Boden and Ryan Fleck

Starring Keir Gilchrist, Emma Roberts, Lauren Graham and Zach Galifianakis

Craig: I want to kill myself.

Nurse: Fill this out.

I have to begin by saying that IT’S KIND OF A FUNNY STORY is not really a funny story at all. In fact, it isn’t even that funny. It tries to be, and on occasion it can be, but the reason it isn’t is pretty simple. It shouldn’t be. This is the story of a supposedly suicidal teenager who checks himself into a mental hospital for fear he won’t be able to hold on much longer. Last I checked clinical depression bordering on suicide wasn’t a laughing matter and mental wards were not warm and fuzzy places where teens could come of age.

When writing/directing team, Anna Boden and Ryan Fleck, first tackled depression and isolation, they gave us the harrowing indie drama, HALF NELSON, which earned Ryan Gosling an Oscar nomination for his portrayal of a crack-addicted, high school teacher. It was bleak, honest and raw. Just a few short years later though, they have seemingly lost all integrity as artists and their ability to be truthful to their own story and directorial instincts. From the moment Craig (Keir Gilchrist) enters the adult mental ward (the adolescent ward was conveniently undergoing renovations to allow for more implausibility and hopeful hilarity), everything feels false. Despite the fact that Craig’s problems amounts to girl troubles and pressure from his Dad (Jim Gaffigan) to get into the right college, he is admitted for a week. It takes him about a day to realize that his problems are really nothing compared to his new neighbours, allowing for six more days of learning valuable life lessons from adorable and endearing mental patients. They’re crazy, but who isn’t really?

If Craig doesn’t really need to be there, I’m not sure why Boden and Fleck think that their audience will feel any need to be there either. The ensemble do their best to comply, including a surprisingly restrained performance from Zach Galifianakis and a refreshingly vibrant one from Lauren Graham, but ultimately, they look lost, unable to figure out why they’re there too. There is humour in pain and we can be found when we are amongst the most lost but by making light of the dark places these patients go, Boden and Fleck only come off as lost themselves.

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