The Hangover: Part II is a 2011 American comedy film and sequel to 2009's The Hangover. The film stars Bradley Cooper, Ed Helms, and Zach Galifianakis. Justin Bartha and Ken Jeong also reprise their roles. Todd Phillips directed a script written by him, Craig Mazin and Scot Armstrong.

The film is being produced by Legendary Pictures and distributed by Warner Bros. Pictures. Production began in October 2010 and is scheduled for release in the United States on the May 26, 2011.

It's clearly the Before Sunset of violent, raunchy frat-guy comedies.

The Hangover 2 = crap.

Don't listen to MovieGeek. He went into the movie thinking it would be stupid... thus, he thought it was stupid no matter what. SHOCKING!

The Hangover Part II
Armond White's film review of The Hangover Part II
By Armond White
Telling a bad joke twice doesn’t mean it was any good the first time. In the case of The Hangover Part II, it’s merely a sign of heedless, corrupt commercialism. (Critics who buy out now are just being fickle.) Todd Phillips’ infantile idea of humor is to indulge the lousy behavior of white American men Phil (Bradley Cooper), Stu (Ed Helms) and Alan (Zach Galifianakis), who get so drunk and careless during out-of-town vacations that they black-out and find themselves in trouble—with the audience in deep shit.


For Phillips, this joke isn’t racial or cultural (even though Part II moves its shenanigans from Las Vegas to Thailand), it’s merely an apolitical kind of smirkiness. Yet politics cannot be separated from the craven impulse behind The Hangover movies. It obviously represents a cultural end-point: the climax of Western privilege where middle-class filmmakers and TVmakers celebrate their avarice, gluttony and mendacity. No wonder the mainstream media loves movies like this, Bridesmaids and (the superior) Wedding Crashers. It confirms their arrival at social—and career—positions where they can express their selfish disregard for others, even if it comes across as showing their contempt for the general public. (Credit sequence theme song: “It’s a bad man’s world.”) Shifty-eyed Cooper (an agent’s idea of suave) is supposed to be the star of these debauches. Sad sack Helms is just an everyman stooge. But the most media enthusiasm has fallen to Galifianakis as obese Alan, a misremembered John Belushi. But Galifianakis projects autistic hostility—even in last year’s repellent Todd Phillips film Due Date—whereas Belushi was a radiant performer of genuine talent. Galifianakis is Phillips’ imp. It’s always Alan’s dishonesty and snobbery that endangers his pals and prolongs their misfortune, and he sponsors the film’s key sequence: Alan’s flashback where the previous night’s dissipation is recalled as a childhood memory, each character depicted as a naughty, out-of-control kid. In this R-rated Goonies, the cyclops becomes a tranny during a scene featuring full-frontal chicks-with-dicks.


This device exposes the filmmakers’ decadence. The Hangover is essentially made to entertain children (of all ages) with the vices of irresponsibility. Alan’s infantile behavior (“When a monkey nibbles on a penis, it’s funny in any language”) expresses a puerile, selfabsorbed, pleasure-centered sensibility.


Man’s-man Phil explains the type: “I’ve done so much fucked-up shit. You just forget about it; it goes away.” His oblivious attitude—not remembering anything he’s done—reflects the millennium’s New Denial, a post-Vietnam, post-Iraq attitude. Coming from swaggering Phil, it represents more than cultural or sociopolitical regret; it’s a desire for oblivion.


Yet, it’s whiney-voiced Alan/ Galifianakis who is the breakout boor of The Hangover movies. Since Phillips and Galifianakis publicly objected to casting Mel Gibson in a cameo role, it is not out-of-bounds to comment that Gibson’s absence denies all this bad behavior any recognizable point of perspective. Gibson might have made it possible to pinpoint the men’s behavior as outrageous (as Mike Tyson did in the first film; Tyson’s reappearance this time attempts rehabilitation).


In Roseanne Barr’s recent exposé of TV culture, she got to the core of this dishonesty by cutting through the media’s hypocrisy about Charlie Sheen’s meltdown. Barr dared to describe his TV series Two and a Half Men as the first TV show about a john. That’s the same lowlife behavior that The Hangover movies salute; they come from the same Hollywood sewer. Phillips and Galifianakis pretend that without a steadying, accountable presence, The Hangover Part II is satire. Fact is, it’s unrepentant indulgence. Galifianakis is the embodiment of everything wrong with our dominant culture: slack, infantile and unsympathetic.


>>The Hangover Part II
Directed by Todd Phillips
Runtime: 102 min.

omg Armond White, noted contrarian, didn't like a movie?!?!

Seriously, BKB?

He didn't like it.. He all but said it was ASS.. Now what??

What's your point? Is Armond White, troll extraordinare, now the be all-end all of film reviewing?

He didn't like it.. He all but said it was ASS.. Now what??

Iron Man 2 is exactly what critics and audiences deserve following the celebration of that awful, dung-hued first film ~ Armond White

Having Mel Gibson probably wouldn't have added anything to this movie. No one cares about him.

The Hangover Part II was a lot of been there done that. The change to Bangkok definitely had some laughs to connect to it but there were some other pieces that did bug me. Probably the biggest was how Alan was way too over the top. Now he wasn't my favorite character in the first, apart from the general consensus. Here though he is just way too whiny and pathetic. I could of used less Ken Jeong and they should of thrown Justin Bartha into the craziness this time even if he wasn't in the last film a lot given the circumstances. The film is definitely watchable but I didn't leave with the charm I left with after the first one. Personally, I would like to see them try to move the franchise outside of the wedding scene and just have some of the events occur on say the eve of a huge merger, or something like that, where the resulting consequences can't necessarily be wrapped up in such a happy fashion. **