|
Todd Philips' road trip comedy is something of a mystery that manages to
possess much more of a complex plot than we're led to believe by the
trailers originally. In its heart it's about four friends re-connecting
for one wild weekend before the wedding of their friend Doug, all the
while exploring four friends who are also getting in touch with a part
of themselves they lost or will eventually lose when they get back home
to domestic monotony. The four characters here are much more
representations of the male such as Stu who is a delusional male whipped
by his domineering wife anxious to break out of his confines. Alan is
something of an erratic monster who isn't a bad guy even if he's done
some truly perverted things. Doug is a man facing a big change in his
life about to marry a wealthy woman who is also the girl of his dreams
and presenting a life as a married man and possible father, while Phil
is a man who refuses to let himself be toned down even though he's a
father and a husband. Bradley Cooper steals the show here as a man who
is not without shame whenever expressing his feelings to his friends
about their lives because in some form he's just looking out for them,
and once he heads out on the road, he's committed to re-claiming that
male spirit that's tying them all down.
|
Zack Galafianackis is raucous
and often unpredictable as the mentally disturbed Alan who
attaches himself to the road trip thanks to Doug who feels
obligated to include his soon to be brother in law, and he
figures out his own identity while trying to figure out what
happened the night of the bachelor party that got them in a
world of trouble. This series of events leads to a
confrontation with an Asian gangster, a kind hearted hooker,
a womanizing wedding coordinator, and Mike Tyson.
|
|
 |
The whole film revolves around the three principles searching for
their friend Doug who went missing after the party. While I had my
suspicions as to where this entire mystery was leading, the film
ends up being a well rounded and often exciting little road trip
flick where these guys who seemingly just want to have fun are
presented with the responsibility of finding their friend to get him
to his wedding in time--granted he's actually alive. The chemistry
between the three principles is quite good and their interplay along
with the sharp writing makes for some truly memorable comedy moments
including their confrontation with a nosey family in an elevator,
and a funny meeting with a hotel clerk (as played by a deadpan
Nathalie Fay) that manages to set the stages for the entire film
while displaying the raw comic talents of all four men in the film.
"The Hangover" is definitely destined to be a classic for the guys,
and it kept me thoroughly entertained.
While
Todd Philips wildly successful bromance road comedy does offer its
fair share of laughs, the movie does tend to border on drama comedy.
While the whole film is funny and raucous in some instances, "The
Hangover" ends up becoming much more sentimental than you'd expect
and often times I found myself wondering if this was intended as a
comedy at all. Especially in the first thirty minutes which while
interesting do not dole up anything remotely resembling laughter
save for the occasional one-liner chucked by Zack Galafianackis and
Bradley Cooper. "The Hangover" often times felt slightly derivative
of "The Last Kiss," a sort of character study in some ways that was
more about four men getting in touch with their lost manhood than an
actual bachelor party. We never even see the bachelor part until the
climax.
Meanwhile most of the gags are pretty entertaining and manage to
aptly suck up most of the story, but I just didn't find the whole
sub-plot involving the mysterious baby discovered at all funny.
Though it's played for chuckles to demonstrate the ineptitude of
these men, often times it bordered on child cruelty and in any
context, that's not a source for laughter. Watching a baby scream in
horror as man are smashing a car around it threatening to shoot
everyone in the car is not something that will have me pissing in my
pants with laughter. You have to appreciate a movie that goes for
the throat, but there's funny and there's just plain mean-spirited.
Plus it was much too clunky to watch Phil barely pay notice to
anything happening with the baby and suddenly find out he's a loving
dad by the climax who is attached to his son. That's sloppy
characterization. It just doesn't fit my sensibilities to watch a
baby be hit in the head, or left in a hot car, or be shown
simulating masturbation and find it humorous. "The Hangover" falters
in those respects bringing down an otherwise potentially excellent
road comedy.
In
spite of some poorly crafted often cruel humor revolving around an
abandoned baby, and a surprisingly sentimental tone, "The Hangover"
mostly lives up to the hype with an interesting premise, some top notch
writing and sharp performances from its mostly male cast. I can
definitely understand why it was a humongous hit, but when all is said
and done, once was enough for this partier.
|
