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Harry Potter and the Deathly Hallows Part 2: A Grand Finale

Becky Kirsch — Fri, 15 Jul 2011 09:09:59 PDT

Harry Potter and the Deathly Hallows Part 2 isn't just the final installment of a film franchise, it's the ending of an era. The eighth movie in the series takes us to the wizarding world for one more look at Harry (Daniel Radcliffe), Ron (Rupert Grint), and Hermione (Emma Watson) as they square off against Lord Voldemort (Ralph Fiennes) for the last time. The movie is also peppered with the familiar faces we've come to know and love throughout the series, but ultimately, this film belongs to Harry as he comes to terms with the death and destruction of his peers as well as his own mortality. No film in the series has had higher stakes, more action, or quite this much anguish.

As the threesome arrives at their former school, Neville Longbottom informs Harry, Ron, and Hermione that "Hogwarts has changed." It doesn't take a wizard to see what he means: the once warmly lit castle is now shrouded in gray, the laughter of the students has been replaced with fear, and the once-bubbly professors are now panic-stricken and unsmiling. It's only fitting that Hogwarts, where Harry's wizarding life began, is also where it all ends, and so begins the much-anticipated battle between good and evil that comprises the majority of the movie.

To find out why Deathly Hallows Part 2 is a must-see, just

read more. The final book is split into two movies, but there's still so much ground to cover in Part 2 that the urgency of Harry's situation pulsates throughout the entire movie. Little time is spent on the more intricate details of the Horcruxes and grieving for fallen wizards isn't a priority. Instead, the film is a visual feast of one gripping scene after another; there's so much happening at once that you don't even know what part of the screen to focus on. As the final chapter unravels at warp speed, there's nary a moment to unclench your fists. Though the laughs and heart-warming moments are harder to find in Deathly Hallows Part 2, in their place are top-notch performances (particularly from Alan Rickman) and tear-jerking interludes. The movie is in many ways a long kiss good-bye to Harry's worldwide fan base: your enjoyment hinges on your own dedication to, and love for all things Potter. As a lifelong fan of the series, watching Harry Potter and the Deathly Hallows Part 2 is what I imagine it would be like watching your kids graduate from high school: your heart swells, your eyes get a little misty, but more than anything else, you're left feeling satisfied in the presence of a huge milestone.

Photos courtesy of Warner Bros.

Horrible Bosses: Earns Its Paycheck

Shannon Vestal — Fri, 08 Jul 2011 07:52:28 PDT

Horrible Bosses highlights a common pain of the gainfully employed: working your butt off for someone you hate. Though the movie may be preying on your plight, it's a laugh-filled escape from an oppressive office. Jason Bateman, Jason Sudeikis, and Charlie Day star as three friends who are so unhappy at their respective workplaces that they come to an extreme conclusion: to murder their three bosses. Bateman plays Nick, a financial exec trying to move up in the corporate world, but he's roadblocked by his company's malicious CEO (Kevin Spacey). Sudeikis is content at work until his kindly boss dies, leaving the family business to his drug-addicted loser son (Colin Farrell). Lastly, Day's character Dale is the assistant to a sultry dentist (Jennifer Aniston) who sexually harasses him at all hours of the workday.

The plot may be far-fetched - would three well-adjusted guys really plot to kill their bosses? - but the premise works thanks to clever writing of John Francis Daley (of Freaks and Geeks fame) and Michael Markowitz. And really, the movie is so funny that it's easy to suspend your disbelief.

To find out why Horrible Bosses is the opposite of horrible, just

read more. The casting is just about perfect; the chemistry between the three leading men is outstanding, although Charlie Day wins MVP. Best known for It's Always Sunny in Philadelphia, the combination of Day's energy, high voice, and mannerisms make Bateman and Sudeikis seem bland by comparison. The movie also has a lot of fun with supporting characters playing against type - very far against type. Farrell's role is most noteworthy, and not just because of his balding head; he impressed me by lobbing one-liners like a seasoned comedian. Jamie Foxx also has a memorable part as a "murder consultant," which is one of my favorite bits of the movie. It lets the actor, more prone to drama these days, go back to his goofy comedy roots. Then there's Aniston as the sexually hostile dentist, although the role is more eyebrow raising than funny. The wholesome movie star strips down to lingerie and pretty much only opens her mouth to say something filthy. It's more novelty than proof of Aniston's comedic range, but the shock value is almost worth the price of admission. One of Horrible Bosses's most pleasant surprises is the fact that it doesn't rely on lots of gross jokes. Aside from Aniston's language, the raunch factor is pretty limited. And although the premise itself is dark, it doesn't take that as an opportunity to shift into overly violent territory. Instead, the humor comes from a hilarious script and some capable actors who truly kill - at comedy, anyway.

Transformers: Dark of the Moon - A Rock'em Sock'em Blockbuster

Becky Kirsch — Fri, 01 Jul 2011 11:25:00 PDT

Transformers: Dark of the Moon, the third film in the Transformers franchise, has to pull off one major feat to please its fans: make up for the huge disappointment that was Revenge of the Fallen. Not only does director Michael Bay rise to the challenge, but he exceeds expectations with the big-budget blockbuster of your Hasbro-toy-loving dreams. The story is better, the jokes are funnier, the action sequences are epic. In a word, it delivers.

Sam Witwicky, the once geeky teenager played by Shia LaBeouf, is all grown up now and seeking his first postcollege job. Unfortunately, saving the world (twice!) and being BFF with the Autobots (aka the good transformers) aren't viable additions to his résumé, and he's plagued with the feeling of helplessness. Even his smokin'-hot girlfriend, Carly (Rosie Huntington-Whiteley, who never once makes you miss Megan Fox), can't lift his spirits, and he ends up taking a job in a mail room. There, a seemingly cuckoo co-worker passes on some intel - the Decepticons (aka the evil transformers) are back - and thus begins Sam's fight to save the Autobots once again and prove that he's more than just a messenger.

To find out why Dark of the Moon is worth watching, just

read more. The film doesn't take itself too seriously, and you shouldn't either. The premise is hinged largely on the idea that Neil Armstrong's trip to the moon was actually part of an investigation into a foreign object that had crashed on the moon. When it was discovered that the object was actually the Autobots' spaceship, a government cover-up set in for decades. It's unrealistic to say the least, but so is a movie about alien robots disguised as cars. Since we're not in the theater for a believable story line, comedy becomes all the more important, and the laughs are injected at every turn. Sam's feelings about adulthood become comedic thanks to LaBeouf's exaggerated frustrations, and his unsung hero status becomes a joke that never gets old (thanks in part to his medal of honor that impresses nobody). The film also cashes in on its supporting players: John Malkovich and Ken Jeong steal scenes as Sam's bizarre new co-workers, while Patrick Dempsey is a perfect foil to LaBeouf as Carly's debonair boss. With a solid cast under his belt (which also includes Josh Duhamel, John Turturro, and Frances McDormand), perhaps the biggest lesson Bay learns is that audiences are looking for a human heartbeat underneath all of those scenes between the robots. Don't get me wrong: there's still plenty of bot-on-bot action here, but we're not subjected to dull, overlong scenes. Instead, Bay plays up the relationships between the earthlings, focusing more attention on the story arc than simply bombarding the audience with special effects. Aside from the final showdown that could have been 20 minutes shorter, the action sequences in Dark of the Moon are exhilarating. Bay's dominance couldn't be more evident, from the super slow-mo shots of Sam flying through the air to the operatic background music, but the scenes are heart-pounding and well-executed. This means we're also subjected to Bay's typical eye-rolling objectification of women (he did cast a Victoria's Secret model, after all), but the fun is well worth the gratuitous shots of Huntington-Whiteley's butt.

Photos courtesy of Paramount

Bad Teacher: A For Diaz, F For Effort

Shannon Vestal — Fri, 24 Jun 2011 09:29:06 PDT

A foul-mouthed Cameron Diaz stars in Bad Teacher, a comedy that follows her selfish character Elizabeth as she tries to collect enough money for a breast enlargement while working at a middle school. Elizabeth's plan is to use her new rack to net a wealthy man who will take care of her so she won't have to work. And truly, she shouldn't work; as the title implies, Elizabeth is a horrible educator. She shows movies in class while she sleeps off her hangovers, and when she does pay attention to her students, she's insulting them or cussing them out. The formula produces a bit of humor, but there aren't enough laughs or a sturdy enough plot to make the comedy memorable.

The movie's greatest strength is its leading lady; Diaz leaves behind the bubbly ditz characters we've seen her portray time and again to go in a new direction. Her Elizabeth is a cold shrew with an acid tongue, and Diaz nails the timing on each joke like she's been waiting to do this for years. Unfortunately, one good character doesn't compensate for the film's overall flimsiness. To see what I mean, just

read more. There's plenty to get stuck on: First off, there is never an explanation as to how Elizabeth ever ended up as a teacher. Or how she stays employed, for that matter. Or why someone with such a demented moral compass can't find any other methods of getting rich quick besides teaching or hosting car washes. Next, the characterization of Scott (Justin Timberlake), Elizabeth's romantic target, is completely lacking. He vacillates between dreamy dim bulb and conservative dork, never quite settling into a personality. Plus, Timberlake's lazy portrayal gives me less faith in his abilities as a comedian. In contrast, Jason Segel, as the gym teacher who has his eye on Elizabeth, brings his relaxed humor to the film and comes out on top. Bad Teacher is plenty raunchy, but it feels like it's trying too hard. The metathrill we're supposed to get from Diaz and Timberlake's pairing flops, as does the dumb premise that everything is riding on. Forget Elizabeth's breasts - the script is the the thing that needs to be enhanced.

Green Lantern: Ryan Reynolds Is the Brightest Day in Blackest Night

Becky Kirsch — Fri, 17 Jun 2011 05:46:55 PDT

It's a bad sign when the opening sequence of a movie not only fails to grab your attention, but has your eyelids drooping before you even meet the main character. Such is the case for Green Lantern, and the frustratingly dull first few minutes set the tone for rest of the film, which is based on the popular comic book series.

Ryan Reynolds is the actor throwing his hat into the superhero ring this time, and he's actually a great choice. With charisma coming out of his ears and a perfectly chiseled body, Reynolds easily fits the bill as Hal Jordan, a self-assured test pilot with a taste for adrenaline. Hal's fearlessness eventually makes him a candidate for the Green Lantern Corps., a league of alien warriors that keep the peace amongst the galaxies. Seemingly out of nowhere, Hal is absorbed by a large green bubble and transported to a site where a dying alien gives him a ring that signifies his place as a Green Lantern (and provides Hal with a slick CG suit and superpowers in spades). If you think the green bubbles and purple aliens sound silly, it only gets more convoluted from there. To see what else I thought of Green Lantern, just

read more. The movie shifts back and forth between the Green Lantern realm in outer space and Earth. On his home planet, Hal wrestles with his new superhero status, which makes for a few entertaining scenes as he shows off his suit to his best friend Thomas and tries to repair his fractured relationship with his childhood sweetheart, Carol Ferris (a mostly bland Blake Lively). I found myself cringing every time Hal skyrockets off into space again where Reynolds's charm is swallowed up in a world that's almost entirely CG. Even Hal's suit is animated, which makes him look like a floating head performing stunts on a cartoon body. There is some semblance of a good story when you're not having comic book facts spewed at you in rapid succession, thanks in part to Peter Sarsgaard's performance as Hector Hammond. He's Hal's nemesis, (though their history is a little foggy), who's recently acquired some superpowers of his own. Though Sarsgaard doesn't get as much screen time as a standard comic book villain, he makes his mark as a nerdy loser turned evildoer who's drunk on power and literally grows a giant head. Trying to tell too much at once is ultimately Green Lantern's downfall. Hal's human interest story isn't nearly developed enough, and the climax of the film feels rushed and stuffed in between everything else. The space aspect is what makes Green Lantern stand out as a superhero, but it's an other-worldly experience that's hard not to scoff at. You can't blame Reynolds for seizing the opportunity to get his own action figure, but he may end up with nothing more than a souvenir of a failed attempt at a franchise.

The Art of Getting By: A Familiar but Sweet Coming of Age

Shannon Vestal — Fri, 17 Jun 2011 03:05:00 PDT

You've definitely seen a movie like The Art of Getting By before. It's the coming-of-age story of a young man trying to figure out what he wants to do with his life, and falling for his dream girl in the process. Though the Manhattan-set dramedy doesn't break new territory, it's still a heartwarming, clever film with a pair of appealing leads in Emma Roberts and Freddie Highmore.

Highmore plays George, a high school senior whose penchant for avoiding his assignments has earned him something of a reputation - and the risk of not graduating. The only things that can keep his attention are his art (well, his very concentrated efforts at doodling) and a girl named Sally (Roberts). Sally is the prototypical high school princess who beguiles George from the moment they start hanging out. Sally is intrigued by George and his talent for slacking, and they become friends, though it's obvious that George has more-than-friendly feelings for her. Even though the course of their relationship is as predictable as that of a Hollywood romantic comedy, watching George and Sally go from friends to something more is a pleasure. To find out what else I thought of The Art of Getting By, just

read more. It's great seeing Highmore graduating from child actor (he was the sweet-faced title character in Charlie and the Chocolate Factory) and growing up. He captures the quintessential teenage experience of feeling like an outsider among your peers but still fearful of what they think. And he's hardly an apple-cheeked youngster that you're constantly rooting for; George is a good kid, but also kind of a jerk at some points. His rudeness to his mother (Rita Wilson) is disconcerting, but it's also spot-on for a moody kid of that age. Another actor who proves he's come into his own with this film is Michael Angarano. As irresponsible artist Dustin, he becomes a mentor of sorts to George. I used to think of Angarano as Jack's young son on Will & Grace, but he leaves his boyishness behind here. He's rakish and morally ambiguous as Dustin, and you're not quite sure if you want George to follow in his footsteps or not. Dustin's success validates George's laziness and belief that he'll be able to make it in life without putting in any effort. Alas, a series of misfortunes finally rouse George from his mindset, and he matures in front of our eyes. It's an ending that you see coming, and really, predictability is the movie's main flaw. Luckily, bright young things Highmore and Roberts are the saving grace. With precocious charisma, they keep the timeworn boy-meets-girl formula afloat.

Super 8: Beware the Hype Monster

Shannon Vestal — Fri, 10 Jun 2011 07:28:17 PDT

I dare you to say that you're not curious about Super 8, J.J. Abrams's 1979-set film about a group of kids who witness a spectacular train crash. The film has generated a lot of hype for what it doesn't show in trailers and promos, and it's the mystery that's the big draw. The previews do reveal that something escapes the crash and then stalks and terrorizes a small Midwestern town, which Abrams uses as a premise for a sentimental, nostalgia-filled portrait of a group of boys making a movie.

Joel Courtney leads the charge as Joe, a sensitive boy who has just lost his mother in an accident. He and his newly widowed father (Kyle Chandler) are figuring out how to get along with each other without the woman of the house while dealing with their grief. Joe's group of buds help distract him from his home life, as they fill their Summer vacation by making a movie for an amateur film festival. When they're filming a climactic scene near the train tracks, they watch - and film - an intense accident that has some pretty distressing repercussions. With Steven Spielberg on hand as producer, Super 8 often feels like one of his classic sci-fi standbys, but it's just not quite as memorable. However, it's still a fun, heart-pumping ride (the train crash is one of the best action sequences I've seen in a long time). To find out what else I thought, just

read more. The movie owes a great deal of its charm to its disarming young cast. They're wonderfully drawn: there's bossy director Charles, firework-loving Cary, hopeful actor Preston and wide-eyed Martin. Their all-boy dynamic is unsettled when they add a girl to the cast, and Alice (Elle Fanning) shakes up the production with her sophistication and impressive acting skills. She also represents an element of growing up; the boys are on the verge of discovering girls, but the movie doesn't push it any farther than the first blush of a crush. It's very innocent in that way; ultimately, Alice, Joe's mother's death, and the ensuing crisis become key factors in the boys' coming of age. Abrams is a master of the creepy buildup. Mysterious objects show up in the train crash, the town's dogs run away, electronics go missing. Then, while you're trying to figure out what it all means, he brings out the thriller as the monster begins attacking unsuspecting townspeople. Unfortunately, Abrams isn't a master of follow-through, and there are many loose ends that never get tied up. Super 8's other shortcoming is in its inability to choose a distinct genre; it wavers between coming-of-age tale, a monster movie, and then a family drama. But, this is still a highly entertaining movie. It's worth it to see for the buoyant sense of humor and the jaw-dropping, spine-chilling moments, even if it doesn't quite live up to expectations.

X-Men: First Class - A Prequel to the Rescue

Shannon Vestal — Fri, 03 Jun 2011 09:45:27 PDT

In a Summer full of sequels, X-Men: First Class does more than live up to its franchise - it improves upon it. With a combination of great actors, a compelling story, and a fun, swingin' '60s setting, X-Men First Class is an entertaining blockbuster that doesn't sacrifice any substance for style. Technically a prequel rather than a sequel, First Class visits the universe of the X-Men before they came into their own as superheroes. James McAvoy is the young Charles Xavier, a new professor studying genetic mutation, with his own to boot: telepathy. Michael Fassbender plays Erik Lensherr, a man who witnessed the murder of his family during the Holocaust as a boy, and who has spent much of his adulthood tracking down and killing those responsible. At his disposal is his own mutation: the ability to attract and manipulate metal like a magnet, eventually earning the nickname Magneto.

When upstart CIA agent Moira MacTaggert (Rose Byrne) is monitoring suspicious businessman Sebastian Shaw (Kevin Bacon) and his involvement with nuclear weaponry, she witnesses his alliance of mutant minions. Moira consults Charles for his mutant research, recruiting him to help in her investigation. Erik and Charles encounter each other while Erik is hunting Shaw, who happens to be the man who killed Erik's mother. Erik and Charles find that they have much in common and form a fast friendship. Though the plot is propelled forward by the pursuit of the villain Shaw, the real meat of the movie is in the origin story of the mutant characters and how they came to harness their powers as X-Men. It's an angle that breathes fresh new life into the series, and the clean slate is an opportunity that's not wasted by director and writer Matthew Vaughn. Find out why I enjoyed X-Men: First Class so much when you

read more. After four other movies, the X-Men franchise felt like it was losing a bit of its spark, especially after X-Men Origins: Wolverine failed to reignite it. Perhaps that film's focus on one character was too limiting, because First Class's breadth gives you enough to chew on to keep your attention. Introducing us to several key characters and giving us the entire mutant story is much more effective. The shared backstory is absorbing; using an invention of brilliant young scientist Hank McCoy (Nicholas Hoult), Charles and Erik locate several mutants, each in various states of bewilderment over their mutations. Most prominently, Raven (Jennifer Lawrence) suffers from the angst of being unable to accept her true, blue shape-shifting form, Hank has been ridiculed for his animal-like feet, and Alex (Lucas Till) lives in fear of hurting people with his fiery gift. Along with a few others, the young outcasts form a community for the first time, and Charles establishes a school for them at his home, training each of them to take control of their particular abnormalities. Eventually, they find their way, and new monikers: Mystique, Beast, Havok, Banshee, and Professor X, to name a few. Though the characters themselves are recognizable, the fresh faces playing them are newbies to the series, and most are new to the superhero genre itself. Fassbender, McAvoy, and Lawrence are each known for their dramatic performances, and the combined acting chops are a boon in an action movie. The only negative takeaway I had was that I wanted to spend more time with the characters in their development and bonding. The relationships (and potential romances) among the mutants are far more interesting than Shaw's plot to incite a third-world war, even if it is necessary to explain how Charles and Erik came to be on opposing sides. First Class finds a balance of drama and action that keeps it from being a mindless popcorn flick, while still retaining the high energy of one. The tone varies admirably; the movie can be tragic at times, but it also has plenty of lighthearted moments to prevent it from being a totally dark, dramatic take on X-Men. Charles has an affection for chugging beer and hitting on women, and Raven's adolescence makes her an incorrigible flirt. Likewise, Fassbender breezes into each scene with charm as murderous as his mutant skills. As cheesy as it may be, the fantastic cast and story can be summed up by its title: first class.

Beginners: A Bittersweet Feast

Shannon Vestal — Fri, 03 Jun 2011 03:05:02 PDT

It's impressive when a film can find magic and beauty in the everyday, and it's even more remarkable when a film can find such things in life's tragedies. The drama Beginners does just that, forging a lovely, touching gem from its main character's personal sorrow. Ewan McGregor stars as Oliver, a thirty-something man dealing with the death of his parents. When the film begins, Oliver has just lost his mother, but her passing prompts his father Hal (Christopher Plummer) to come out to his son. His other admission is that he has terminal cancer, so Hal only has a few more years to live, and he declares his intention to live the rest of his life as an openly gay man and experience all he had missed out on.

From there, the film follows two courses; one in which we witness Hal's final years as he lives it up and becomes closer to Oliver, and another that takes place after Hal has died. Grieving the loss of his father, Oliver tries to move on, and attempts to connect with a new love interest, Anna (Melanie Laurent). When Oliver meets Anna, a French actress who's frequently traveling for work, he's a melancholy shell of himself. His grief is heightened because his father's rediscovery of himself and subsequent happiness makes Oliver miss a man he was just getting acquainted with. As Oliver struggles to recover from loss, he finds solace in his memories, but it's uncertain whether he'll be able to let go enough to find the total happiness he obviously wants. While it's a setup that could be depressing or frustrating, the gentle hand of writer/director Mike Mills makes Beginners a gem of a movie that meditates on love, death, loss, and hope. To see why I loved the film, just

read more. The film views the romance of Oliver and Anna through the lens of Oliver's grief. Moreover, Oliver also has to reconcile the lessons of love that his parents' marriage taught him. We see flashbacks of their union: while they weren't completely unhappy, they were unable to achieve a complete connection because of Hal's homosexuality. In hindsight, Oliver empathizes with his mother, as a woman in love with a man who couldn't fully return her affection. He also laments his father's compulsion to settle for the arrangement until his wife's death, and both conditions seem to contribute to Oliver's fear of falling in love. And yet, as he remembers Hal's bliss while falling for his boyfriend Andy (a wonderful Goran Visnjic), Oliver seems to finally recognize that there's hope for him too. Oliver and Anna's relationship is sweet and swoon-worthy, especially at the beginning. However, it's also very realistic, because falling in love isn't all it takes to "fix" Oliver. Instead of uniting the couple and letting us assume they live happily ever after, we are invited to witness the relationship's development, including all the difficulties and obstacles that real couples go through in making a relationship work. The strongest asset to the film is McGregor. You empathize with Oliver's pain so intimately, due to the actor's brilliant, nuanced performance. His eyes alone communicate Oliver's many emotions, particularly in the scene in which Oliver first meets Anna at a party, and she knows at once that he's just barely keeping it together. Like many indie romances, there are some quirks, and there are some elements that verge on the precious. For instance, after his father's death, Oliver inherits his dad's dog, Arthur, and Oliver talks to him like he's a human. However, things don't go too far (don't worry, Arthur doesn't talk back), and it ends up being delicately funny, and even a little sweet, because it's another way Oliver deals with his father's death. Ultimately, Beginners is an emotional story that feels both personal and specific to the filmmaker (Mills based it on his own experience with his father), but still relatable, even if you haven't lost a parent. Though Oliver's quest for happiness is a bumpy journey filled with heartache and hope, it's one that you feel honored to be a part of.

The Hangover Part II: A Less Funny Morning After

Shannon Vestal — Fri, 27 May 2011 14:24:49 PDT

The expectations for the sequel to The Hangover really couldn't have been higher, considering how beloved the original is. Before you see the film, I advise that you severely lower the bar for The Hangover Part II, because it is, unfortunately, a shadow of its predecessor. In the second film, Phil (Bradley Cooper), Stu (Ed Helms), Doug (Justin Bartha) and Alan (Zach Galifianakis) are headed to a wedding and want to have one last bachelor party hurrah before one of them gets married. Sound familiar? It should. The plot is exactly the same as the first movie.

Sure, there are some tweaks. This time, it's Stu that's getting married, and the boys are all headed to Thailand for the event. When the guys decide to have a low-key night before the wedding, they toast their beer bottles . . . and then wake up the next morning in Bangkok with absolutely no memory of the previous evening. They spend the rest of the movie piecing together the details of the night so they can locate a missing member of their group.

The Hangover Part II is a retread that's so close to the original, you wonder if the writers doubted its audience's intelligence or were just too lazy to come up with something new. Either way, the movie and its signature wolf pack still get laughs, but it's lacking the magic that made the original Hangover an instant classic. To see what else I thought, just

read more. I was eager to see the wolf pack reunite, but it would have been nice to see some character development. Instead, the sequel only exaggerates the personalities of the men. Phil is more obnoxious, Alan is even more awkward and eccentric, and so on. Chow (Ken Jeong) is the only character that's more entertaining the second time around. More of a friend than villain in this film, Jeong mercilessly steals every scene he's in. With everyone else stuck in the same mold, Jeong's distinction and nonchalant comedic performance make him the standout. One way The Hangover Part II surpasses the first film is in the gross-out humor. Clearly the filmmakers felt pressure to top themselves, and in the sequel they succeed to the point of discomfort. That dirty feeling is pervasive. Where the first film was a bit dark, it was also balanced with some lightness - the guys could at least laugh a little about their antics. But in Part II, the more we learn about what they got up to the night before, the less we want to know. You feel as filthy as they do, and the grimy backdrop of Bangkok's more depraved establishments contributes to that effect. The setting, the repercussions of the night before, and the stakes of the missing person all plunge you into a movie that doesn't always feel like a comedy. Everything gets worse before it gets better, and the "better" part, the ending, still left me with a bad taste in my mouth. Ultimately, it's just another sequel that tries for its predecessor's greatness and falls far short.