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Non-Review Review: The Hangover, Part III

There was a time when The Hangover seemed like a breath of fresh air. It wasn’t so much an original story or set-up. Rather, it was a devil-may-care attitude and unrepentant immaturity. It was bold and it was willing to do absolutely anything it needed to in order to get a laugh. It worked because of that sheer commitment and energy, energy that is mostly absent from this final instalment. “Leslie Chow is madness,” a character boasts at the climax of the film, talking about one of the franchise’s popular recurring characters – but he may as well be talking about the film itself. “You don’t talk to madness,” he insists. “You lock it in your trunk…”

It’s a nice call back to the very first film and the first time we met Ken Jeong’s “Mr. Chow”, but it also speaks to the weaknesses of The Hangover, Part III. Somewhere along the way, the madness was lost. The high-octane “anything can happen” spirit of the original film leaked out of the two sequels. I’m fonder of The Hangover, Part II than most, but it is a cheap imitation, a repeat of a joke that was hilarious the first time and passable a second.

It’s to the credit of Todd Phillips that he doesn’t try to emulate the same formula a third time. I appreciate that a few efforts are made to push the trilogy into a shape resembling a circle, but it feels so much more contained and so much more rote than it did all those years ago.

I wouldn't get too excited, Alan...

I wouldn’t get too excited, Alan…

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Non-Review Review: 21 And Over

Jon Lucas and Scott Moore repeat The Hangover in this movie, while rehashing the same jokes and same ideas in a college party themed 21 and Over. On Jeff Chang’s (Justin Chon) 21st birthday, his lifelong friends, Miller (Miles Teller) and Casey (Skylar Astin), show up at his doorstep, unannounced, to celebrate all night long. However, Jeff has an important med-school interview in the morning and so convinces the two to take the night easy, a plan which quickly goes south. Miller and Casey eventually end up dragging an unconscious Jeff across the campus of his university in search for his apartment, leading to a number of alcohol filled shenanigans.

21andover1

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Watch! 21 and Over Trailer!

Entertainment One just sent over this trailer for 21 and Over, the new comedy from the producers of The Hangover. It’s released on May 3rd, so check back at the end of April for our review of it. Check it out below.

 

Non-Review Review: Jeff Who Lives at Home

This film was seen as part of the Jameson Dublin International Film Festival 2012. As the movie’s getting a delayed Irish release this weekend, I thought I’d share it again.

There’s a common misconception about the films of Mark and Jay Duplass. It’s easy to confuse their films with comedies. Just look at the cast they assembled for Cyrus, including Jonah Hill and John C. Reilly (with Marisa Tomei taking home her Oscar for a comedic turn in My Cousin Vinny), or even the one they’ve gathered here. After all, Jason Segel is still most recognisable from How I Met Your Mother or The Muppets or Forgetting Sarah Marshall. Ed Helms’ filmography includes The Office and The Hangover and Cedar Rapids. While Jay and Mark Duplass include a wonderful amount of humour in their work, it tends to distract away from their core themes or ideas. Beneath the awkward triangle in Cyrus, there’s a coming-of-age family drama. Underneath the witty exterior of Jeff Who Lives at Home, there’s a sincere and optimistic romantic drama. And I’m a sucker for romantic drama.

Rub a dub dub, two men in a tub…

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Non-Review Review: Jeff Who Lives at Home

This film was seen as part of the Jameson Dublin International Film Festival 2012.

There’s a common misconception about the films of Mark and Jay Duplass. It’s easy to confuse their films with comedies. Just look at the cast they assembled for Cyrus, including Jonah Hill and John C. Reilly (with Marisa Tomei taking home her Oscar for a comedic turn in My Cousin Vinny), or even the one they’ve gathered here. After all, Jason Segel is still most recognisable from How I Met Your Mother or The Muppets or Forgetting Sarah Marshall. Ed Helms’ filmography includes The Office and The Hangover and Cedar Rapids. While Jay and Mark Duplass include a wonderful amount of humour in their work, it tends to distract away from their core themes or ideas. Beneath the awkward triangle in Cyrus, there’s a coming-of-age family drama. Underneath the witty exterior of Jeff Who Lives at Home, there’s a sincere and optimistic romantic drama. And I’m a sucker for romantic drama.

Rub a dub dub, two men in a tub...

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The Art of Compromise: Picking the Family Christmas Movie…

Christmas is a fun time in my household. We pack in the entire extended family for a day of fun and celebration, a nice dinner, some drinks. They stay over for a night or two and we do all the usual family activities. Christmas night, we watch a movie. St. Stephen’s night, we play a game of Texas Hold ‘Em Poker. As you can imagine, finding a movie that thirteen-odd people will sit down and enjoy in a crowded sitting room by the fire, glasses of wine and popcorn handy, is no mean feat. And, I admit with some measure of pride, the task is assigned to me: I’m the one asked to come up with a suitable movie for the Christmas evening. And, as much as it’s a fun task, it’s also a daunting one.

Ghosts of Christmas past...

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Non-Review Review: Old School

It’s tempting to look back at Old School in the wake of the massive success of The Hangover and claim “I saw Todd Phillips’ potential first!” After all, massive critical, commercial and audience hits don’t come out of nowhere, and the early work of a given director should probably give some indication of their hidden talent. However, I don’t really see too much of The Hangover in Old School, a film that I like, even if I don’t love it. There are a few similarities in content and structure, but I still can’t see anything in the film that would have led to me to “keep an eye” on Phillips. It’s a solid fratboy comedy, but it’s not anywhere near a classic.

Ferrell was on a hot streak when this came out...

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Non-Review Review: Dinner for Schmucks

The real problem with Dinner for Schmucks is that it’s not really that funny. I can talk for quite a while (and probably will) about how the movie takes all the flaws with unsympathetic comedic protagonists demonstrated by films like Due Date and turns them up to eleven, but that will ignore the fact that the laughs in the film are relatively few and far between, which is a shame when one considers the sheer volume of talent involved. Paul Rudd, in particular, is a talented and charismatic actor who really needs to make better choices in films.

No funny business...

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Non-Review Review: Bridesmaids

It’s kinda interesting. Bridesmaids opens over here a month or so after it does in the States, so I’ve had the opportunity to pick up quite a significant amount of chatter on the film, as a good film tends to attract on the information super highway. Most of the discussion around the film has been centred around the movie’s gross-out humour, with reviews branding it as The Hangover in heels”or some such, and a great deal of discussion focusing on the fact that it demonstrates women can do that sort of disgusting and crass physical comedy. Such a discussion seems to be just a little bit over-the-top, as the movie really only features three absurdly crass set pieces (one of which admittedly opens the film, another competes with anything else in a comedy this year, and the third is tucked away in the credits) – so much so I doubt anyone would bat their eye if the same level of juvenile conduct were contained in a film about a bunch of dudes. It’s a damn shame that this seems to monopolise the conversation on Bridesmaids, because it’s actually just a really good film.

Maids of honour?

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Non-Review Review: The Hangover, Part II

“It happened again,” Phil whines over the phone to his buddy’s wife during the opening sequence of The Hangover, Part II. Of course it did, that’s the entire point of the sequel. The movie unashamed offers fans pretty much what they might expect from the sequel to a relatively high concept comedy: “more of the same.” That’s not necessarily a bad thing – moments of the film had me rolling around from side to side to side, attempting to figure out if it was hilarious or just plain wrong – but it does mean the film lacks a lot of the originality and sense of freshness that made the first one such a beloved comedy classic.

Bangkok Dangerous?

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