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Is “The Hangover Part II” a “Good” Sequel?

Is “The Hangover Part II” a “Good” Sequel? (photo)

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What makes a good sequel?

Steven Zeitchik wrote an interesting piece earlier this week in The Los Angeles Times crediting the box office success of “The Hangover Part II” to its “lack of originality.” In essence, he says that the most successful comedy sequels are the ones that hew closest to their predecessors. His article begins, “The raised eyebrows started pretty much the moment the trailer hit the Web.” When the trailer for “The Hangover Part II” hit the Web at the beginning of April, I wrote the following in a post about the often dubious use of the phrase “Part 2” in sequel titles:

“The trailer makes it look less like a continuation than a rehash. The location is different but the characters, narrative gimmick, and Ed Helms facial disfiguration gags are all the same. That could still make an interesting sequel if the finished film plays up the nightmarish, almost ‘Twilight Zone’-esque quality of these men’s lives. Will it acknowledge the fact that they seem almost karmically doomed to repeat the same awful misadventures over and over again? I kind of hope so.”

With the movie now in wide release, it’s clear that while my hopes were dashed, the trailer was an accurate depiction of the finished film. If it was inaccurate at all, it was in not fully representing just how faithful “The Hangover Part II” is to “The Hangover.” Contrary to what star Zach Galifianakis said in interviews prior to production about the sequel having “nothing to do with the bachelor party,” and that the scenario would involve the Wolf Pack getting “kind of kidnapped,” it absolutely does and they absolutely don’t. In fact, almost every single plot point from the first film appears in the second one: a forgotten night of debauchery, a friend missing, altercations with drug dealers, sex with prostitutes, incongruous animal sidekicks, and Mike Tyson.

Given the extreme degree to which it recycles elements of the first film, you could almost make the case for “The Hangover Part II” on the grounds that it is an experimental film. As I sit here writing, I’m actually having trouble thinking of elements from the first “Hangover” that don’t appear in the sequel; the only one jumping immediately to mind is the fact that Ed Helms’ character doesn’t fall for the hooker he sleeps with this time around. The following video mashup does a nice job of illustrating the similarities, by placing the aforementioned “Hangover Part II” trailer side-by-side with corresponding images from the first film.

As Zeitchik notes, most of the critical discourse around “The Hangover Part II” has focused around the borderline shocking degree to which it is just Mad Libs version of “Part I.” A quick scan of the film’s Rotten Tomatoes page reveals almost as much repetition as you’ll find in the film itself. “I can’t believe how precisely everything does happen again, except that what was fresh and surprising in Las Vegas turns rancid and predictable in Bangkok,” says Joe Morgenstern of The Wall Street Journal. “Trade out Las Vegas for Bangkok, a tiger for a monkey, a lactating hooker for a trannie stripper, a missing tooth for a face tattoo, and you’ve got Todd Phillips’s rote, dispiriting replica of his own surprise smash hit,” says Eric Hynes from The Village Voice. In his review, Richard Roeper proclaims that “rarely has a sequel been so lazy, obvious, such a flat out copy of the first film.”

The film certainly is a copy. But is it really that rare? “The Hangover Part II” reminded me of a lot of horror sequels, particularly long-running and heavily codified franchises like “Friday the 13th” or “Final Destination.” Genre connoisseurs come back to these movies time and time again for their faithful adherence to formula: Jason Voorhees will come back from the dead, he will wear his hockey mask, and he will kill people in incredibly violent and incredibly creative ways. True, there have been some variations, but most are cosmetic; flinging Jason into outer space so he can slaughter hotties there isn’t that much different than transplanting “The Hangover” from Vegas to Bangkok. When horror sequels stray too far from their core, they’re usually flops. See “Halloween III,” the only movie in the series that didn’t feature Michael Myers.

Why are there different standards for horror and comedy sequels? You can’t say that comedy is different from horror because jokes depend on surprise — so do horror films. We watch great comedies over and over, savoring the stars’ delivery, memorizing our favorite jokes. I couldn’t count the number of times I’ve seen “Blazing Saddles” or “The Naked Gun.” Earlier this week I was laughing out loud at “Stripes” a film I’ve seen many times. Repetition and ritualization is part of the fun of great comedy. So what’s the problem with repeating and ritualizing it in the form of a movie like “The Hangover Part II?”

I agree: the fact that Phil, Stu, and Alan undergo the exact same misadventures is impossible and ridiculous. But it’s no more impossible or ridiculous than John McClane getting into three more days just as bad as his worst day ever in the first “Die Hard.” Isn’t it weird that terrorists love to attack the things in closest proximity to John McClane? Do we care? I certainly don’t; I just like seeing Bruce Willis badass it up.

What we’re talking about here is the fundamental nature of sequels. Should sequels be bold, original undertakings or should they provide the audience with more of what they liked in the first movie? Is a good sequel like or unlike the movie that spawned it? This, I think, is a matter of personal opinion and taste. Some people love “Evil Dead II” which is so similar to “The Evil Dead” that it’s almost a remake. Some people prefer “Army of Darkness” which transposes the series’ hero to medieval times and replaces most of the horror with Three Stooges-esque physical comedy.

“The Hangover” had a very clever premise and a unique comic mystery structure. You could argue that its uniqueness was what made it so successful. In that case, maybe the only true sequel to “The Hangover” is one as unique as the first film — say, the boys have another night out on the town but this time they get brutally murdered and it’s up to their girlfriends and wives to solve the crime. Or you might argue that what made “The Hangover” a hit was the particular chemistry of the actors — Bradley Cooper’s smarm, Ed Helms’ spoiled innocence, Galifianakis’ inspired idiocy. We loved spending time with those guys in that booze and pill-fueled fog. In that case, “The Hangover Part II” is the perfect sequel, since it reunites the entire cast and provides them a forum to do the things we enjoyed watching them do the first time around.

Do I think “The Hangover Part II” is a good movie? Not really. Do I think it’s a good sequel? After a lot of thought, I’ve decided that it is. It is not a great sequel on the level of “The Godfather Part II” or “The Empire Strikes Back” — sequels that truly continue the stories and expand the universes of their first films — but it is a satisfying one on its own terms. You might subjectively say that the jokes aren’t funny; I thought a lot of them were (I also appreciated the fact that the movie was a lot bleaker and sadder than the first “Hangover,” and probably as close as I’ll ever get to my dreams of “Twilight Zone”-y nightmarishness). No, it’s not an original comedic vision. But it delivers what it promises: more of the same. And since it’s already grossed almost $150 million in just one week of release, outstanding for an R-rated comedy, I think you can expect a lot more of the same in the future.

Did you like “The Hangover Part II?” Tell us in the comments below or on Twitter and Facebook!

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Bro and Tell

BFFs And Night Court For Sports

Bromance and Comeuppance On Two New Comedy Crib Series

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“Silicon Valley meets Girls meets black male educators with lots of unrealized potential.”

That’s how Carl Foreman Jr. and Anthony Gaskins categorize their new series Frank and Lamar which joins Joe Schiappa’s Sport Court in the latest wave of new series available now on IFC’s Comedy Crib. To better acquaint you with the newbies, we went right to the creators for their candid POVs. And they did not disappoint. Here are snippets of their interviews:

Frank and Lamar

via GIPHY

IFC: How would you describe Frank and Lamar to a fancy network executive you met in an elevator?
Carl: Best bros from college live and work together teaching at a fancy Manhattan private school, valiantly trying to transition into a more mature phase of personal and professional life while clinging to their boyish ways.

IFC: And to a friend of a friend you met in a bar?
Carl: The same way, slightly less coherent.

Anthony: I’d probably speak about it with much louder volume, due to the bar which would probably be playing the new Kendrick Lamar album. I might also include additional jokes about Carl, or unrelated political tangents.

Carl: He really delights in randomly slandering me for no reason. I get him back though. Our rapport on the page, screen, and in real life, comes out of a lot of that back and forth.

IFC: In what way is Frank and Lamar a poignant series for this moment in time?
Carl: It tells a story I feel most people aren’t familiar with, having young black males teach in a very affluent white world, while never making it expressly about that either. Then in tackling their personal lives, we see these three-dimensional guys navigate a pivotal moment in time from a perspective I feel mainstream audiences tend not to see portrayed.

Anthony: I feel like Frank and Lamar continues to push the envelope within the genre by presenting interesting and non stereotypical content about people of color. The fact that this show brought together so many talented creative people, from the cast and crew to the producers, who believe in the project, makes the work that much more intentional and truthful. I also think it’s pretty incredible that we got to employ many of our friends!

Sport Court

Sport Court gavel

IFC: How would you describe Sport Court to a fancy network executive you met in an elevator?
Joe: SPORT COURT follows Judge David Linda, a circuit court judge assigned to handle an ad hoc courtroom put together to prosecute rowdy fan behavior in the basement of the Hartford Ultradome. Think an updated Night Court.

IFC: How would you describe Sport Court to drunk friend of a friend you met in a bar?
Joe: Remember when you put those firecrackers down that guy’s pants at the baseball game? It’s about a judge who works in a court in the stadium that puts you in jail right then and there. I know, you actually did spend the night in jail, but imagine you went to court right that second and didn’t have to get your brother to take off work from GameStop to take you to your hearing.

IFC: Is there a method to your madness when coming up with sports fan faux pas?
Joe: I just think of the worst things that would ruin a sporting event for everyone. Peeing in the slushy machine in open view of a crowd seemed like a good one.

IFC: Honestly now, how many of the fan transgressions are things you’ve done or thought about doing?
Joe: I’ve thought about ripping out a whole row of chairs at a theater or stadium, so I would have my own private space. I like to think of that really whenever I have to sit crammed next to lots of people. Imagine the leg room!

Check out the full seasons of Frank and Lamar and Sport Court now on IFC’s Comedy Crib.

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Millennial Wisdom

Charles Speaks For Us All

Get to know Charles, the social media whiz of Brockmire.

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He may be an unlikely radio producer Brockmire, but Charles is #1 when it comes to delivering quips that tie a nice little bow on the absurdity of any given situation.

Charles also perfectly captures the jaded outlook of Millennials. Or at least Millennials as mythologized by marketers and news idiots. You know who you are.

Played superbly by Tyrel Jackson Williams, Charles’s quippy nuggets target just about any subject matter, from entry-level jobs in social media (“I plan on getting some experience here, then moving to New York to finally start my life.”) to the ramifications of fictional celebrity hookups (“Drake and Taylor Swift are dating! Albums y’all!”). But where he really nails the whole Millennial POV thing is when he comments on America’s second favorite past-time after type II diabetes: baseball.

Here are a few pearls.

On Baseball’s Lasting Cultural Relevance

“Baseball’s one of those old-timey things you don’t need anymore. Like cursive. Or email.”

On The Dramatic Value Of Double-Headers

“The only thing dumber than playing two boring-ass baseball games in one day is putting a two-hour delay between the boring-ass games.”

On Sartorial Tradition

“Is dressing badly just a thing for baseball, because that would explain his jacket.”

On Baseball, In A Nutshell

“Baseball is a f-cked up sport, and I want you to know it.”


Learn more about Charles in the behind-the-scenes video below.

And if you were born before the late ’80s and want to know what the kids think about Baseball, watch Brockmire Wednesdays at 10P on IFC.

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Crown Jules

Amanda Peet FTW on Brockmire

Amanda Peet brings it on Brockmire Wednesday at 10P on IFC.

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GIFS via Giphy

On Brockmire, Jules is the unexpected yin to Jim Brockmire’s yang. Which is saying a lot, because Brockmire’s yang is way out there. Played by Amanda Peet, Jules is hard-drinking, truth-spewing, baseball-loving…everything Brockmire is, and perhaps what he never expected to encounter in another human.

“We’re the same level of functional alcoholic.”


But Jules takes that commonality and transforms it into something special: a new beginning. A new beginning for failing minor league baseball team “The Frackers”, who suddenly about-face into a winning streak; and a new beginning for Brockmire, whose life gets a jumpstart when Jules lures him back to baseball. As for herself, her unexpected connection with Brockmire gives her own life a surprising and much needed goose.

“You’re a Goddamn Disaster and you’re starting To look good to me.”

This palpable dynamic adds depth and complexity to the narrative and pushes the series far beyond expected comedy. See for yourself in this behind-the-scenes video (and brace yourself for a unforgettable description of Brockmire’s genitals)…

Want more about Amanda Peet? She’s all over the place, and has even penned a recent self-reflective piece in the New York Times.

And of course you can watch the Jim-Jules relationship hysterically unfold in new episodes of Brockmire, every Wednesday at 10PM on IFC.

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