'The Hangover' giveth and 'The Hangover' taketh away.
The first 'Hangover' made Bradley Cooper, Ed Helms, and especially Zach Galifianakis stars, and it elevated Todd Phillips from middling Hollywood director to name-brand comic auteur. But in the film industry, success that surprising and enormous demands more success; the beast must be fed. But as 'The Hangover Part II' and especially the new 'Hangover Part III' prove, it is very hard to make a good sequel to a truly original idea. 'Part II' went the rehash route, recycling the plot of the first movie so brazenly you almost had to admire its chutzpah. 'Part III' finally breaks with the formula a little (SPOILER ALERT: there is no hangover), but still doesn't produce anything even remotely worthy of the first film.
After an early marketing campaign that did everything in its power to hide plot details, 'The Hangover Part 3' has started revealing its secrets at a rapid-fire pace. First, there was the recent trailer that finally let us in on the plot of the film. Now, we have the first clip, which sheds some light on what appears to be the film's main conflict.
Every 'The Hangover 3' trailer and TV spot so far has sold chaos and only chaos, so it's refreshing that the new (and possibly final) trailer for the trilogy capper lets us know what the movie is actually about. Unlike 'The Hangover Part II,' this is no carbon copy remake of the first film -- it couldn't look more different than what we've seen before.
The production of 'Jane Got a Gun' has been under the microscope as its original director Lynne Ramsay left the movie just as shooting was to commence, while Michael Fassbender quit the production shortly before filming was to start and Jude Law dropped out once Ramsay walked off the set. But it looks like everyone who dropped out has been replaced as Bradley Cooper is stepping into Law's part.
To watch 'The Place Beyond the Pines' is to observe characters making discoveries. Discoveries about their past, their environment, their heritage. When the revelations come they aren't met with gasps or dropped objects, but with an understanding, an acceptance that, yes, this is, indeed, the way things are.
While you'd swear with every bone in your body that this vast, rich, symbol-heavy tale was surely based on a thick doorstopper of a novel, the surprising fact remains that it is, actually, an original screenplay. It seems, though, a natural progression after the character portraiture of Derek Cianfrance's last film 'Blue Valentine.' This new one has the essence of 'Blue Valentine' but blown open far and wide.
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