Saturday, July 9, 2011

The Hangover Part II (Todd Phillips, 2011)

I walked into The Hangover Part II with an expectation that I would not like it. While I had not ever seen the first film (I hesitate to call it "original"), I had seen several previews for both. They did not inspire confidence. But, after a frustrating day, sometimes you just want to have two beers and go to a midday showing of a movie you fully expect to not be good. This is the part of the review in which a person might normally admit to being wrong. That all this expectation was for nothing, and it was merely the marketing executives doing what they do (using advertising to make their movies look worse than they are). This is not what happened. The movie advertised, especially the strangely eerie trailer of Ken Jeong and Zach Galifianakis slowly singing to elevator music, make the movie look better than it actually is.

It begins just fine. Whoever was the Assistant Director on this movie, actually, is working his or her ass off (probably his, sadly) to get a real job as a director. Almost all the shots that do not involve any of the principle actors look fantastic. While it is probably not that difficult to go to Thailand and film what is, in essence, a pretty looking travelogue of pseudo-exoticism, AD still kinda nails the hell out of it. And compared to how bland and typically comedy movie-looking the rest of the film is, these throwaway moments are a wonderful change of pace. Even the opening of the post-Hangover wake up in a small Bangkok hotel room, there's a tinge of moody loneliness to all the shots leading up to the actors getting up and doing things.

But, other than that, the movie is more or less worthless. I cannot understand the appeal of Galifianakis' movie persona. His psychotically boorish tendency to make every situation he's in worse for the other "protagonists" is acknowledged at the very beginning of the movie, yet the characters still allow themselves to be guilted into keeping him around. With less exaggeration this could be a plausible storyline, but Galifianakis' character is so obviously mentally ill and in need of serious psychological help that he simply becomes sad and pathetic, rather than humorous. It's impossible to quite be angry with him, because he is clearly incapable of any form of impulse control, yet it also feels weirdly cruel to laugh at anything he does -- malicious, even. It helps that, at least to these ears, his lines and delivery are never funny.

Ken Jeong does battle with Galifianakis for most awful thing about the film, and mostly manages to win with an awful caricature of "ching-chong-y" Chinese stereotypes, speaking in an exaggerated accent that he can't even keep up a decent portion of the time (dropping into a higher-pitched version of his normal English, which is, at least, less offensive if no less obnoxious).

In the film's opening post-Hangover scene, Jeong overdoses on cocaine, has a heart attack and dies. The other characters then decide to stuff his body in an ice chest, rather than attempt to call any authorities or make any serious attempt to revive him. They come to this conclusion so nonchalantly, and with very little moral panicking or indecision, that it makes it immediately impossible to see them as anything but reprehensible human beings, even if three-quarters of the way through the movie it turns out Jeong isn't dead after all. They thought he was, and they reacted in the most self-serving and awful way possible, without even much flinching. And, in the end, that is all that really needs to be said about these characters. We are expected to embrace and relate to them and their plight to discover what, exactly, they did the night before, and yet they are such reprehensible low-lifes, and the movie is so patently unaware of this fact (save Galifianakis, though even he is sympathetic) that it is a movie that has failed as soon as it begins. And its failure continues from there, an almost endless stream of racism, cliches and hatefulness in celebration of exactly the disgusting American tourist entitlement that, say, Hostel satirizes so viciously.

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