In this current dark period of cinematic comedy, it's a relief that great movies like The Hangover are still being made

Rating: Null/10 (15 December 2009)

The intelligent comedy is a dying breed. Gone are the days of the Marx Brothers and good Woody Allen movies; here are the days of Meet the Spartans, farting and cameos from Carmen Electra. It's relieving, than, that in this current dark period of desperate cinematic comedy, great movies like The Hangover are still being made.
The Hangover proves that there is still genius to be derived from the unsophisticated: this isn't routine slacker/bromance fodder; this doesn't sacrifice all its integrity for a flurry of puke-awful penis jokes. It carries itself with the wit of a sitcom and the flare of the big screen, resulting in the funniest mainstream comedy of the year thus far (I said mainstream, In the Loop, so don't worry).
Todd Phillips has outdone himself this time, because The Hangover is his best film to date. Though, given his last outing was School for Scoundrels, that mightn't be saying much in terms of personal vigour, but his latest trumps a lot of America's recent comedic output.
It's become a recent fad in cinema to compare almost every American comedy to the work of Judd Apatow, a more mature (but not quite as legendary) Kevin Smith. Following his rise to fame, his movies have conquered the hearts of cinema-goers, pleasing both the box office and critics. So, how do comparisons with The Hangover hold up? Well, if Apatow is an auteur for finding hilarity in the mundane, or deadly serious (unplanned pregnancy, heartbreak, etc.), than Phillips is the master for creating comic genius from the completely insane.
In fact, the only thing that's even remotely similar to Apatow's frame of work is the layered character observations, because what's significantly exceptional about The Hangover, and that indefinable quality that made and didn't break it, is that it's very taken with its characters. Rather than constantly busy itself with an excessive drive of punchlines, it's very involved in the surprisingly acute development of our illustrious trio's relationship, and frequently reaches breakthroughs in terms of simpatico. An oddball (Zach Galifianakis' Alan), a lothario (Bradley Cooper's Phil), and a neurotic (Ed Helms' Stu) they may be, these characters are still very investible and very believable, and given the ludicrous events that transpire during the movie's runtime, that's pretty impressive.
Though that doesn't mean it doesn't yield many a punchline; in fact, the gag rate is unfathomable, and, on average, there's a joke every few seconds. Even more impressively, for every joke that misfires, there are two that hit home, to hilarious effect.
But going back to characterization, it brings me nicely to the performances; what's refreshing about The Hangover is it's neither the first comedic outing for a major actor, nor does it's cast consist of the usual humdrum SNL affiliates. While the primary trio are seasoned, it's great to see some different faces appose to the norm. And, boy, you wouldn't want this cast any other way.
Bradley Cooper as Phil is cocksure charisma winningly applied to an everyman the average schmo can both like, empathize with and, similar to Galifianakis' Alan, somewhat idolize. He's slick, he's suave, and he's no slouch when it comes to punchlines, and, thanks to his leading man good looks, he's enough to bother Ryan Reynolds, and just as talented. Given that he's never really given a definable moment to shine, his insanity, compared to his co-stars, is admirably low-key, but, sadly, he is upstaged by both Helms and Galifianakis.
Ed Helms, one of the most underrated and scandalously underused comedic actors to recently come about, fits the role of Stu perfectly, which is a pleasant surprise; fans of his will probably be more acquainted with the many self-serving, idiotic assholes that have shaped his frame of work so far. Hats off to Phillips for giving him the attention and limelight he deserves, because it was definitely worth it; watch Helms throughout, and you'll see how his increasingly-frustrated Stu begins to squirm. The character's outbursts mightn't come as quite a surprise as a result, but you'll still be able to watch a maverick subtly begin to take centre stage. If, however, you don't have the tolerance to do so, than simply laugh your ass off at his piano/voice solo midway through the movie, and particularly his rib-tickling fermata.
And, finally, Zach Galifianakis... It's not difficult to identify which aspect steals the show; Galifianakis as Alan turns in a comedy tour du force; thanks to Galifianakis' undivided dedication to manic vivaciousness, and the innocent, dumb grace he inhibits the character with, Alan is the unfaltering focus of a very devoted audience, all of whom should be waiting for his next hilarious pratfall or observation (you can't masturbate on a plane because of 9/11, apparently). He is endlessly funny, and just never wears thin.
Unfortunately, not everything is as steady; there's a hammy Ken Jeong, who, after one funny moment, just becomes plain irritating. Also, the film fancies itself both a comedy and a mystery movie, but the characters' sleuthing grows a little monotonous as things proceed. Every twist is very predictable, and while some scenes do offer legitimate pathos (the scene in the impound lot, for example), others just deter from the general interest. Thankfully, the movie is deliriously fast-paced and doesn't fret too much therein.
And you yourself should not fret, because there's more than enough here to entertain and enthrall: three supporting players finally getting a stab at lead; a wonderful high concept used to its fullest potential, not to mention a great depiction of the title ailment; such unprecedented delights as a taser gun demonstration with two over-enthusiastic cops, a winking Rain Man spoof with a great and well-publicized use of the song "Joker & the Thief", and a rooftop speech from Alan that had me in stitches long after the movie was over.