Tag Archives: scenery

The Hangover: Part 2


It’s not as shit as lots of critics are saying it is. But it is mostly shit.

If it ain’t broke don’t fix it. Right? That’s a solid rule of life, tried and tested and formed from extensive experience. We trust such wise old mottos for a reason. They must work.

Well they work to an extent. This sequel takes the rule to the extreme. It takes it much too far. As many have already said, Part 2 is pretty much a scene by scene remake of the original. If you’ve seen The Hangover this will be predictable. The jokes might initially force a smile, a smile of recollection, a hint of the laughter from your first viewing of Part 1. Then they will become torturously tiresome.

Most of the attempts at humour in the film left me absolutely cold. I watched, aware that this was meant to be funny, conscious of idiotic laughter elsewhere in the cinema, feeling completely uninterested. The times that you are tempted to the verge of a giggle feel as if they are due to an uncontrollable infectious reaction, a mindless physical spasm, spreading from a gaffawing buffoon or someone who hasn’t seen The Hangover. Or someone who laughs at the first syllable of country.

Actually on a few occassions, no more than three, I felt compelled to genuinely laugh. For whatever reason, be it my easily shocked innocence or taste for inappropriate jokes, I wanted to let myself chuckle. BUT so appalled was I by the lack of creativity, the sheer cheek of the filmmakers to release a sequel with EXACTLY the same format and plot, I forced myself to conceal my pleasure. Or limit it to the slightest “ha”. Quite apart from the fact I knew in my head it was awful, there were also some gags that strayed over my (usually rather wide) line of decency on issues from sexuality to race.

There are a handful of enjoyable things in Part 2 however. Chief among them is the wife-in-waiting, played by Jamie Chung. She is delightfully pretty and sexy, and not in the crude way you might expect from these films. Her character is not spectacuarly rounded, lifelike or convincing, but simply the stereotypically perfect girlfriend/partner/wife. She is gorgeous, intelligent, caring, understanding, perhaps even submissive. It’s briefly nice to indulge the impossible daydream of having such a devoted soul mate.

Bangkok is pretty much the perfect location for this film. But I’m not going to indulge it any further by picking out the positives. It is mostly irritating. When I saw Holy Rollers, I realised Justin Bartha could act and play interesting characters. Here he goes back to his career of missing out on crazy happenings, this time not on a roof but by a turquoise resort pool, fretting over five star breakfast. Seriously couldn’t they have shuffled the Wolf pack to include him this time? Just shake things up with a little change?

A handful of reviews have speculated that this sequel must surely be a piece of high concept art, mirroring the actual weary effects of a hangover. The first film was the wild night out and this is the comedown. These 102 minutes of my life aren’t refunded with such creative criticism though.

This has turned into a pointless rant. All I meant to say is that the critics are 90% right about The Hangover: Part 2. And the 10% they’re wrong about is not worth your time or money.

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Africa United


Africa United has been dubbed this year’s Slumdog Millionaire and the hype around this feel-good movie set amongst third world scenery was certainly sufficient to cause me some logistical problems at my first ever press screening. A last minute venue change meant that for a while my attendance was touch and go, but given the plot of the movie this was perhaps appropriate.

Essentially a road movie, Africa United follows three Rwandan children, talented footballer Fabrice from a privileged world of exams and plasma screens, his “manager” Dudu and his sister Beatrice, who dreams of becoming a doctor and finding the cure to HIV. So far so generic. The three plucky adventurers gradually acquire friends, forming the “team for the dream” that aims to accompany Fabrice all the way to Soccer City in Johannesburg in time for the World Cup’s opening ceremony, where he was promised a place by a scout back in his village. Inevitably the journey does not run smoothly and the young friends must overcome many hurdles, some specific to the troubled continent of the title and others typical to the human condition. Despite this predictable format Africa United is far from being an ordinary film. Like Slumdog Millionaire it is distributed by Pathe and deserves recognition and success, but for different and in my view more persuasive reasons.

Unlike Slumdog Millionaire, which was based upon a successful novel, Africa United was built upon far slimmer foundations; a chance remark in January 2009. Unlike Slumdog Millionaire, which was helmed by the respected Danny Boyle and marked the culmination of that respect with global recognition, Africa United was the directorial debut of Debs Gardner- Patterson, who explained the origins of the story and the difficulties of casting with a few words before my screening of the movie began. I watched a nervous unknown make an uncertain speech but knew 90 minutes or so later that I had been in the presence of at the least an accomplished filmmaker, and at best this country’s next big thing. She has crafted, created and steered a project from the inspiration of just a few words into a must-see movie experience, talked of in the same breath as an Oscar winner. It lacks the epic scope and romantic intrigue of Slumdog and is at its heart a simple tale of friendship, but feels better formed and is much, much funnier throughout than 2008’s Indian set smash-hit.

The key to this humour and indeed the crucial factor elevating Africa United from the good to the excellent is the performance of young Eriya Ndayambaje as lead character Dudu. To use one of the many football metaphors ever present in the film, director Gardner-Patterson is an excellent manager, for acknowledging the importance of playing her star player from the start. The film opens with Dudu charmingly explaining, in almost Blue Peter style, how to construct the perfect football from condoms. It took just seconds for his infectious smile to have the audience giggling and cooing at his cuteness and in the rare moments that his sheer charm wears off, the script by Silent Witness writer Rhidian Brook provides him with killer lines. Often the gags are football based, such as when Dudu and Fabrice discuss which animals their heroes would be, with Dudu correcting Fabrice that Ronaldo is not a lively baboon but an arrogant peacock. But there are also laughs galore for the whole family, football fans or not, certainly too many for me to remember here. Although one of the more obvious, simple messages of the film is that “impossible is nothing” when people come together in teams, it is an inescapable fact that Africa United would lose much of its power without Dudu; he is the authentic magnet at the core of the story, the star striker, or perhaps kingpin playmaker pulling the strings.

That is not to say there are not other important elements to the story and the film’s authenticity. It was shot in real locations in Burundi, Rwanda and South Africa and the scenery is suitably stunning and colourful. There are actions sequences with rolling cars and firing guns as well as gags, innocence and friendship. The entertainment covers a broad range from childish humour to grand themes of dreams and emotion, often all skilfully related linked back the central idea of the power of sport. For example the scene where Dudu chooses to leave his sister at a school so she can get the education she craves is not only incredibly emotional but again links back to the idea of management, as the others praise Dudu’s skills. Africa United also perhaps understandably owes a lot to the continent of the title and paints a refreshingly honest portrait of modern African life; one in which some, like Fabrice’s family, are well off and football shirts, cars and mobile phones are the norm, as much as HIV, AIDS and child soldiers are. By showing African life realistically and making it accessible it is impossible not to root for the likeable main characters and thus Africa United becomes the perfect advert for the continent, far more effective than appeals for aid crammed with images of drought and famine. Who would not want to support this ambitious team for the dream, with ambitions not so unlike yours or mine, but smiles and charm that are a whole lot cuter?

Africa United then will find it hard to escape the same old labels of “feel-good” and “family friendly” in the coming weeks before its release, but through the hype remember that this film has far more to offer beneath the surface and do your best to support it. It has been lovingly nurtured by  British debutants in the film world, shot and edited with a distinctive, fun style, suitably scored and dotted with original, heart warming and amusing African animations that add another notch to its originality. Most of all watch out for Dudu, and Eriya Ndayambaje who plays him, as his performance alone makes Africa United unmissable.