In this case, that’s a good thing.
Like many sequels can’t, The Hangover Part 2 delivers everything you loved about the first one. The humour is the same, and the characters are the same, and the most basic lines of the plot are the same.
The audience in the theatre will be the same kinds of people in theatres when the first movie was released in 2009.
The premise is tweaked: Dorky dentist Stu (played by Ed Helms) is getting married in Thailand.
Stu, in an effort to evade another catastrophe, planes himself a “bachelor brunch”, which flops.
Fast forward to Thailand. The engagement dinner goes (relatively) smoothly and, two nights before the nuptials of his best friend, Phil (Bradley Cooper) insists on one beer on the gorgeous Thai shore.
Reluctantly, Stu agrees.
The next morning, they wake – sweaty, pantsless and bald. They are in a sleazy motel in the tumultuous city of Bangkok.
There’s a monkey, a severed finger and a facial tattoo. Stu isn’t wearing pants . . . and Alan (Zach Galifianakis) has no hair . . . .
Phil is sweaty and his shirt is unbuttoned. His hair is tousled, wet and stuck to his strong jaw. He still looks good.
The day unfolds and our favourite wolfpack makes its way through the crowded streets. They find clues and unravel the mystery that was the night before.
They meet fondly familiar characters (“Mr.Chow, bitch!”) and new charming ones, too.
Opinions have been varying – some say the original can’t be beat, while others believe Part 2 gives the first film a sprint for its money. Either way, most will find the movie hilarious.
The thing with the Hangover franchise (it’s gross over $185 million – so far) is that you either hate it or you looove it. There’s no in-between. If you laughed at the first, you’ll laugh at Part 2.
Critics have called The Hangover Part 2 more of a remake than a sequel, and in some respects, they’re right.
Trade the tiger for a monkey, a missing tooth for a tattoo, Las Vegas for Bangkok; Part 2 is like a drunken Mad Lib.
But the beauty of the second flick lies in that it doesn’t try to be revolutionary. It tries to be funny. And like the odd Mad Lib, it succeeds.