The Hangover

It was recently New Years so this seems appropriate fodder. So let's talk about the highest grossing R-rated comedy ever. And what makes it so funny.

Todd Phillips hasn't really produced anything this, well, sophisticated before. Odd word choice, and yeah it's a comedy and it can be gross but it never dips to the gratuitously disgusting levels of something like Superbad. In fact, most of the humor comes from the absurd situations our beloved characters find themselves in.

On a trip to Vegas to celebrate Doug's (Justin Bartha) last nights as a free man, he and his buddies Phil (Bradley Cooper), Alan (Zach Galifianakis), and Stu (Ed Helms) are accidentally roofied and can't remember the entire night. They wake up in the hotel villa with a tiger, a chicken, a baby, a missing tooth, and a missing Doug. Desperate to find Doug, the three remaining men try to piece together the night before to save Doug's wedding and their own butts.

A film like this has to succeed on the performances of its leads, and The Hangover does just that. Bradley Cooper thrives in asshole roles (see Wedding Crashers) and pulls off fast talker, narcissistic Phil perfectly. Stu is the goody-two-shoes, owned-by-his-girlfriend, nerdy but successful dentist who usually picks up the tab. And then there's Alan...oh, Alan. Invited because he's the bride's brother, Alan is the perfect example of one of those guys in real life who don't have anything wrong with them that you can pinpoint, like Asperger's, but who continually make socially awkward, ignorant, or stupid comments that either make you laugh in disbelief or shy away from them while trying to mask your expression of horror at the same time. They say things like, "I didn't know they gave out rings at the Holocaust!", one of Alan's best lines, with complete and honest surprise. Sounds like a certain Belushi we all know and love.

The characterizations are refreshing in that we know these stereotypes, but they're downplayed and believable here. The acting is top-notch, as is the writing as the absurdities continue piling one on top of the other. The humor ranges from slapstick to jawdropping to situational irony, and yet somehow it all feels real. It feels like these guys could actually steal Mike Tyson's tiger, and actually get tazed for fun in a police station, and actually drive a cop car around illegally.

This is, of course, a certain brand of humor. Not everyone will find the humor base enough, or mainstream enough; it's a bit offbeat and quirky at times, especially some of Alan's creepier moments. This isn't stupid comedy, and the dialogue is smarter-than-average. Even if the premise sounds tried and tired--four guys go to Vegas for a wild night--it's so well-executed that it definitely had me cracking up. The only way you'll know, though, is to try it for yourself.

I do have to comment on the weakness of the soundtrack. A couple of the hip-hop/rap songs may have suited the tone of the movie, but they were way too noticeable and completely overtook some scenes instead of supporting them.

Verdict: While the premise may sound cliched, this is one of the funniest comedies of 2009 (and perhaps the decade), and certainly the most well-written.

-elln

Ringside's RINGSIDE

In 2005 Ringside debuted its self-titled album to minor buzz, but quickly faded out of the limelight. They promised another album in 2007 to arrive the following year, but that never came to fruition. Their debut is a low-fi indie album with an emphasis on clever pop in the vein of a less experimental Eels. It's a largely undiscovered gem aside from two singles which received modest play in commercials and such, but it's easy listening for those of us who are suckers for well-crafted pop.

The album opens with "Struggle," arguably the catchiest song on the whole thing, and a laid-back version of Eels meets Grand National. It's a very polished piece of light-weight, smooth pop; if you get anything from this album, get this smoky, cool, seductive song. "Cold on Me" flirts with a jazz/blues background, while "Trixie" is a solid if forgettable album addition. "Miss You" is as downer as the album gets, and while the lyrics are far from sophisticated, the tune carries the song (this is the case for much of the album), and it's almost reminiscent of Coldplay without the lush sound. "Dreambat 730" is a pleasant surprise and one of the album's strongest offerings, though the rhyming walks the fine line between immature and intelligent. It does proffer the album's most provocative lyrics if only for their nonsensical qualities, particularly in the second verse where Scott Thomas tackles masochistic love: "I think I need my spine cracked/break my back/come on, baby, take me back/pinch me, lynch me, hang me from old hickory/sing your sings of peace and love/come on, baby, beat me up/oh, now, don't worry/I like it when you hurt me."
"Sleep Well, Jeff" is catchy enough, while "Talk to Me" is probably the sleekest, smoothest track on the album. "Raining Next Door" is another song with subpar lyrics but with a solid enough hook to make it another quality track. "Criminal" demonstrates that Ringside should probably stick to the catchy, shallow indie beats instead of ballads-turned-cheesy like this one. One moment it pulls at the heartstrings and the next it's easy to be scornful at Thomas' attempted soul-baring.
"Jackie" is a better effort than the earlier, sounding even a bit Mellencampy aside from the synth effects. Unfortunately, all the titles on the album tracks are abysmal.
Ultimately, the electronica keeps the listener at arm's length, but you're still gonna be admiring across the distance. This isn't the best thing since sliced bread, but in spite of its lyrical mediocrity and lack of experimentation, smart melodies and insanely addictive electronic production make it a diamond in the rough. For lovers of Eels, Grand National, Hard-Fi, and RJD2.

Verdict: Unimaginative on the lyrical end, Ringside's negative aspects are outweighed by catchy beats and immaculate production.

-elln