The Hangover: Part III? – A trilogy already in the offing after success of comedy sequel

With the dust barely settling after a barnstorming opening weekend for The Hangover: Part II, talk of a third instalment of drunken hilarity from “the wolf pack” is morphing into concrete action. The writer behind the script for Part II, Craig Mazin, has been approached by Warner Brothers to craft a story for a possible end to the trilogy.

Director Todd Phillips had already let slip, just before the release of the latest film, that he had an idea for Part III. Presumably, on the evidence of Part II, his brainwave is to copy as closely as possible the events of the opening films, but possibly in a different city.

Critics may have loathed the rehash of 2009’s surprise hit but a loyal and wide fan base clearly can’t get enough. It’s no wonder that Warner Brothers are already getting things moving for a third film, with opening weekend figures of £10,409,017 in the UK. Such gigantic starts are usually reserved for British icons like Harry Potter or James Bond, or American superheroes. Successful comedies never reach such stratospheric heights. Bridget Jones: Edge of Reason is the only comic creation ever to better the takings of the latest Hangover (and only fractionally), with past hits like Hot Fuzz and Borat all opening satisfactorily at around £5-6 million.

One huge stumbling block could derail the winning formula for a trilogy however: keeping the wolf pack together. Brad Cooper and Zach Galifianakis in particular, are forging Hollywood careers beyond the franchise. According to Total Film, Galifianakis was “negative” throughout the filming of Part II, no doubt fearing becoming typecast. And as the review at Flickering Myth points out, the comedic charms of Alan are crucial to the appeal of these crazy capers.

If Part III lost any of the film’s big stars, especially Galifianakis, it would surely not reach the heights of Part II. It might not even get made. But, with piles of money to throw at his actors, Todd Phillips might just get yet another amnesiac night on the town. 

Who knows maybe British fans will be rewarded by setting the next set of shenanigans in London?

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.

Iron Man 2

An unassuming secret identity, a loveable sidekick and an addiction to good deeds. An endearing genetic defect with unwanted superpower side-effects, a camp costume, an immaculate hairdo. An array of selfless, saintly qualities: modesty, chastity, responsibility and respect. An ultimate, unquestionably evil nemesis and an unwavering sense of right and wrong. The capacity to shun greed and riches for the benefit of the many, for the ordinary citizen. These are the ingredients of your average superhero, and these are the elements that the first Iron Man film, rebooting the Marvel character, chose to either throw out the window or turn completely upside down.

As a result Iron Man was one of the surprise smash successes of 2008. Its refreshing approach to a familiar genre that had become tired, bland and predictable, really said something to a range of cinemagoers. Whether you were an easily pleased ten year old after an iconic super suit and tonnes of action or an adult after some different thrills and spills with good gags and an attractive cast thrown in, Iron Man had it. Iron Man 2 will no doubt be the DVD of choice on the Christmas lists of many and attempts to continue along similar lines to the first film.

But does it succeed? One of the major things Iron Man had going for it was the fact it didn’t take itself too seriously; it knew it was all silly fun in the end. Of course this is largely down to the character of Tony Stark, excellently played once more by Robert Downey Jr. He slips effortlessly back into the role that catapulted him to the top of the mainstream and made the acting world his oyster. It’s a bold move to see Stark exposed as the Iron Man and living with that pressure. The script does have its flaws but must be credited for supplying Stark with some killer lines, although such is his charm and exuberance even ordinary pieces of dialogue can take on an irresistibly humorous air. Some of the gags are far from sophisticated but still elicit the laughs, such as the hordes of wild robots at the end dubbed the “HAMMER-ROIDS”. It is just as well that Iron Man 2 doesn’t try too hard to be taken seriously, like its predecessor, because at times the abundance of new characters and outlandish plotlines becomes baffling and bewildering.

For the most part the new additions are harmless fresh pieces in the puzzle of fun. Scarlett Johansson’s wooden performance as a mysterious, multi-talented employee of Stark’s organisation is two-dimensional yes, but again you get the feeling she wasn’t going for anything more than generic femme fatale. She is also involved in an exciting and hilarious acrobatic fight scene, with the bulk of the laughs coming from director Jon Favreau’s performance as Stark’s boxing mad driver. Generally she is welcome eye candy of course, and this is played for laughs, again with director Favreau going goggle eyed as she changes in his car. Samuel L. Jackson also plays a typical role, complete with eye patch, which hints at Marvel’s planned synthesis of its heroes for an invincible superhero blockbuster.

Perhaps the biggest danger to Iron Man 2’s appeal is its multitude of competing and fuzzy plotlines. One in particular concerning Stark’s father’s legacy was especially confusing for me, given the events of the first film which seemed to suggest Stark created the technology for the Iron Man suit himself during captivity. However I have to say that generally the film was so enjoyable I didn’t let the various narrative strands, some more ludicrous than others, spoil the experience. In fact by the end the majority of them have reached conclusions that make a kind of sense, whilst leaving the path clear for the inevitable lucrative sequel. Mickey Rourke’s largely mute Russian villain Ivan Vanko certainly doesn’t compare to his critically acclaimed turn in The Wrestler or perhaps the more interesting back stabbing opponent of the first movie, but on frightening and imposing appearances alone he makes a passable foe. And his sparking electrical whips make for some unique action sequences at Monaco’s Grand Prix, despite some glaringly obvious computer generated cars, and again at the end for the climatic showdown.

On the whole Iron Man 2 is an entertaining watch that walks the fine line between maintaining the necessary continuity for a franchise, with characters like Gwyneth Paltrow’s Pepper Potts exchanging prickly dialogue with Stark, and injecting new blood to make each adventure different and fresh. And fresh is what Iron Man remains; a modern and incredibly funny take on the superhero.

Wall Street: Money Never Sleeps

Let’s be clear from the start that Wall Street: Money Never Sleeps is not a great or even good movie experience. It spends 133 minutes undecided as to what type of film it wants to be. As a result it’s a largely dull tale that takes time to get going and never really bursts into life as you might expect. I’ve never seen the original Wall Street and honestly couldn’t say if seeing the first film would enhance or diminish your enjoyment of this post-9/11 and banking bailout sequel. Certainly a fan would have got some of the references that left me unmoved, perhaps a cameo from Charlie Sheen’s wax work face would have made more sense, but they ultimately may have been disappointed by the nothingness of this follow-up.

The cinema was strangely empty for the first night of a film jammed with star performances and lavish shots of the Manhattan skyline, all marshalled by acclaimed director Oliver Stone. It was dotted with the odd couple who may have been young when the first movie came out. Indeed at times Stone’s direction felt dated, with nostalgic fades between scenes and a less than subtle focus on the image of bubbles throughout the film. You can spot a bubble billowing child in the background of almost every scene with a crowd. Much of what really grated about this movie, besides the ponderous plot, was the way in which motifs and messages were rammed down your throat. These ideas are never fully developed or explored, for instance the focus on renewable energy that seemed to be thrown in simply to be topical, and are far from intelligent or insightful. What really makes you shift uncomfortably in your seat is the way in which the script makes it plain, through some at times terribly clunky dialogue, that it thinks it is saying something clever and new that needs to be said. In reality it merely scratches the surface of some big themes from recent times and then quickly ties itself up in knots with another strand of the purposeless plot that rarely engages the audience.

The opening titles also felt dated and these informed me that there were original songs on the soundtrack, which also sounded distinctly 80s and not exactly in keeping with the tone throughout. However for all the film’s faults it’s difficult to pinpoint exactly what makes it such a lifeless watch but easier to highlight the aspects that make it more bearable than expected.

The first surprise (I was tempted to say pleasant but it really wasn’t) was the way in which I could tolerate so much screen time from Shia “dollar signs” LaBeouf. Since his childhood role in Even Stevens, in which he was passably amusing, I have found his acting irritating in every major film that has catapulted him to mega-bucks star status. However in this movie, despite being given some terrible lines, he is watchable not only as the young adult trader with a conscience but also as the infatuated lover struggling to keep his relationship together. The object of his affection, Carey Mulligan, was also a strong point of a poor film, as expected. Here she demonstrates an American accent and short haired sex appeal that might see her cast in more big budget projects across the Atlantic, but I would hope she tries to stick to quality British film in the main.  

In fact if Wall Street: Money Never Sleeps gets one big review tick it is for the acting performances. Michael Douglas, despite looking drained even after his transformation at the end of the film, has an undeniable charisma in the role of Gordon Gekko and again this is despite the fact he is given some appalling dialogue to work with. The film, whilst continuously slow and plodding, feels even more so before Douglas makes his first proper appearance. The reconciliation scene with his daughter Mulligan is also the one genuinely moving and engaging moment in the entire movie, which is a real testament to both performers given how little I cared for the back-story. Josh Brolin also plays the big baddie banker extremely well.

So whilst there’s no need to rush out to see a film with an identity crisis that can feel like that annoying high minded acquaintance who doesn’t really have an opinion of their own, there are worse ways of spending two hours thanks to some quality acting and the beautiful, shiny gloss of extreme wealth present in every escapist scene.

Upcoming British Films

There are a number of high profile British projects to look forward to in the coming months, with some of them already making waves at film festivals and generating Oscar gossip. Perhaps the biggest and most widely anticipated of the coming releases is unlikely to win masses of critical plaudits but shall delight and tease the expectant masses…

Harry Potter and the Deathly Hallows: Part 1
Release Date: 19^th November 2010
Starring: Daniel Radcliffe, Emma Watson, Rupert Grint, Bill Nighy and endless others!
Director:  David Yates
Synopsis: In the first of a two part adaptation of the final, seventh book in the Potter series, Harry embarks on a quest to destroy the Hoxcruxes that preserve Voldemort’s immortality, as the Dark Lord tightens his controlling grip on the magical world and the country as a whole. Familiar friends are menaced as Harry’s psychological connection to his nemesis helps him learn more about both the past and the destiny awaiting him.
Will it be any good?: Whilst David Yates clearly convinced the money men behind the movies that he had mastered the magical recipe with his previous Potter films Order of the Phoenix and Half Blood Prince, and a sizeable chunk of the critics too, I have always felt that his offerings were weak additions to the series and disappointments following Goblet of Fire and the inspired Prisoner of Azkaban, helmed by Alfonso Cuaron. To my mind Cuaron has been the only director to successfully inject exactly the right dose of the magical and fairytale, whilst also creating a gripping narrative that worked independently of the book. Goblet of Fire too was a solid entry to the series, but Yates has failed to up the level of threat and drama sufficiently as Voldemort emerged from exile, with set pieces such as the climactic battle between Dumbledore and Voldemort at the Ministry of Magic in Yate’s first Potter picture disappointing fans of the books. Ralph Fiennes has tried his best as the sinister wizard but we’ve now seen so much of him being frankly less than scary that his supposed all conquering power has lost its fearful mystique and he often appears on screen as a pale and camp vampiric skinhead, prancing around like a pantomime villain. The decision to split the final book into two films was perhaps inevitable given the irresistible revenue guaranteed by such a move and also the abundance of action in the novel. It will be interesting to see how artificial the cut off point for this first instalment feels and whether or not the best action will be reserved for the finale, leaving this feeling an empty affair, a mere prelude to the real deal. The quest nature of the story shall take the action away from the formulaic comfort of Hogwarts that was the foundation of both the books and movies successful appeal. Yates will have no excuse this time round for a lack of exciting set pieces and fans will take heart from a promising and exciting trailer. It really is time these films delivered something special that does both the original stories and talented cast justice, but it does seem that this entry may be simply an elaborate teaser before Part 2.

The King’s Speech
Release Date: 7^th January 2011
Starring: Colin Firth, Geoffrey Rush, Helena Bonham-Carter, Timothy Spall
Director: Tom Hooper
Synopsis: Taking to the throne due to his brother’s abdication, King George VI is both reluctant and unfit to lead the British Empire at the dawn of a shifting new world order. Hampered by a terrible stammer he enlists the help of eccentric Aussie speech therapist Lionel Logue to improve his expression and find his true voice.
Will it be any good?: This film came away with the big prize at the Toronto Film Festival and has all the necessary ingredients for Oscar glory, including another mammoth performance from Colin Firth that looks certain to earn him a second consecutive best actor nomination, following last year’s for A Single Man. Indeed this is a film with an incredibly strong cast and one bound to be full of pitch perfect performances, with much praise already being heaped on Geoffrey Rush’s amusing and inspirational therapist, and Timothy Spall seeming a natural choice for Winston Churchill. Add in the lavish and meticulous period detail and the focused, character driven nature of the narrative at a time of enormous historical importance and this could have critics drooling and writhing in the aisles with pleasure. Of course even with the magnetism provided by awards buzz a film needs to be watchable to be a commercial success and the blend of humour and moving emotional drama promised here, set against a fascinating backdrop of national crisis and relevant media issues, looks set to ensure The King’s Speech is a hit with the ordinary cinemagoer and not simply a finely executed but essentially lifeless and dull costume drama. One to look forward to.

Never Let Me Go
Release Date: 21^st January 2011
Starring: Carey Mulligan, Keira Knightley, Andrew Garfield
Director: Mark Romanek
Synopsis: An adaptation of the dystopian novel by Kazuo Ishiguro, Never Let Me Go tells the story of three children whose lives are interlocked by love and friendship at a seemingly harmless rural boarding school. However as they grow up they must learn to come to terms with their fate and their conflicting feelings for each other.  
Will it be any good?: The trailer looks incredibly moving, beautifully shot, acted and scored, and it’s been chosen to open the London Film Festival but so far this film has divided critical opinion. It may simply be that expectations were disproportionately raised by a tantalising combination of Romanek’s directorial return, an acclaimed novel being adapted and three of the brightest young stars in British film taking the lead roles. Or the film may actually be a letdown that fails to transform something vital from the book, an essence of emotion impossible to replicate in a condensed screenplay tying together all the elements of a well crafted novel. Your enjoyment of the film is likely to rest on how well you know the book. Regardless of the success of the adaptation Carey Mulligan looks set to deliver another commanding performance that could be in line for recognition come Oscar time and Keira Knightley may enjoy a return to form, despite looking flat in comparison to Mulligan in the trailer. In one of a number of upcoming high profile roles, new Spiderman Andrew Garfield will also raise his status as a capable male lead with this picture and the performances of the stars alone ought to make this more than watchable.

Untitled Sherlock Holmes Sequel
Release Date: December 2011
Starring: Robert Downey Junior, Jude Law, Stephen Fry, Russell Crowe/Brad Pitt (rumoured)
Director: Guy Ritchie
Synopsis: Holmes returns after exposing the supernatural plots of Lord Blackwood, reportedly to do battle with the elusive Professor Moriarty in this anticipated sequel.
Will it be any good?: Stephen Fry seems the perfect casting choice as Sherlock’s lazier and more brilliant older brother Mycroft. Fry himself announced the news this week in a radio interview, confessing the role would be fantastic fun to play and his personality does seem perfectly suited to the light hearted tone of Ritchie’s first film for the Victorian sleuth, whilst simultaneously lamenting a lack of meatier roles for him to get his teeth into as an actor. Of course it’s too early to pass judgement on many other crucial aspects of this sequel. If it can retain the chemistry between Holmes and Watson and Hans Zimmer’s delightful, inventive soundtrack then it will have a strong foundation for success, only improved by the announcement of Fry joining the cast. A suitably adventurous and clever caper shall have to be devised to justify the return of Moriarty. Big names such as Crowe and Pitt being linked to the role alone will not ensure the film’s blockbuster success in a difficult Christmas release slot. And with the BBC’s own well received modern adaptation set to appear again before Ritchie’s second effort, will the public still have enough love left for Sherlock, particularly one still grounded in Victoriana?