Spy (2015)

First, there was the solid Bridesmaids in 2011. Then a couple years later The Heat in 2013. Following the every two-year formula, director Paul Feig and star Melissa McCarthy have teamed up again for another winner, hitting theaters this past weekend to very solid reviews and a very solid box office showing. Here's 2015's Spy.

For most of 10 years, Susan Cooper (McCarthy) has been an excellent analyst for the CIA, helping agents with her focus on details and all the little things. For years, she's worked with a suave, smooth and efficient agent, Bradley Fine (Jude Law), and has even developed some unanswered feelings for him. Now though, the CIA is in trouble. The daughter of a crime boss with ties to terrorists, Rayna Boyanov (Rose Byrne), has come into possession of a small-yield nuclear device and placed it out there for the highest bidder. An additional problem for the CIA? Boyanov knows the identity of all its field agents so anyone who would be sent to track her would be in even more danger. There's only one option, and that would be Susan. With no field experience and working all those years stashed away in a basement starting at a computer screen, Susan is tasked with tracking and identifying Rayna before she can sell the nuclear device. Heading into the real world of espionage with so much on the line, can Susan pull it off?

Give credit where it's due. When Feig and McCarthy team up, they've had nothing but solid results. More impressive than that though is how they do it. Comedies can be pretty run of the mill, a reason I don't always check new comedies out in theaters. This duo and their talented crews and casts look for familiar angles/stories and try to put a fresh, unique spin on those tried and true techniques. Bridesmaids had the girlish rom-com, Heat the buddy cop relationship and here with Spy, a deftly-handled almost-spoof of espionage flicks like the James Bond and Jason Bourne series. They find what makes those angles work and tweak them here and there for something familiar with something that usually catches you by surprise. Of the three, I'd put Spy right behind The Heat, but this new comedy was excellent. Go out and see it. You shan't be disappointed.

Not everybody seems to like her -- blame Identity Thief and Tammy -- but I'm a big Melissa McCarthy fan. I really, really disliked Identity Thief a few years back, but you had to admire her energy. She commits and goes hard for the laughs. So what about when the movie is good and she's on-board with that energy? As an audience, we're in for some fun. Yes, she's funny, but it's because she's able to switch back and forth effortlessly between impeccable line deliveries and perfect physical humor. There aren't a ton of actresses out there right now who are genuinely funny, but McCarthy is at or near the top of that list. Feig's script gives her plenty of chances for laughs, and she doesn't miss too many. Her Susan Cooper is a quiet, polite, detail-oriented systems analyst...until she isn't. Thrust into a hazardous mission after years of being desk-bound, Susan finds a hard edge that she puts to good use to bring things together. An excellent performance from the very funny McCarthy.

The script certainly has its fun with McCarthy's Cooper, sometimes too much. At times, I thought it went too far beating her down, cutting her out at the knees. When it works though, those moments are very funny. Case in point? Susan doesn't get a glamorous cover...far from it. She gets the chance to pose as a cat lady, a middle-aged mom, and all sorts of other embarrassing covers. Through it all, McCarthy goes for it, smoothing over some of the rough spots.

The movie's strongest moments are in its spoof-like qualities. I should say this clearly isn't a spoof of the spy genre. It just knows the genre, plays it seriously while having some serious fun with all the familiar genre touches. The opening credits play like a James Bond credits song, the opening action sequence has been in countless 007 flicks, and you feel like you're actually watching a Bond flick. The laughs though, my goodness, they're G-O-O-D. Jason Statham absolutely steals every scene he's in as Rick Ford, a grizzled CIA agent and a spy who is ALL that is man. He's seen everything and will let you know he's seen and survived everything the world can throw at him. His character consists of countless line deliveries explaining the harrowing experiences he's made it through, one more ridiculous than the other. I had two favorites. One, explaining how one of his arms was ripped off, but the other arm was able to put reattach it. Two, Ford offering to go into the Face/Off machine...as in the one used in the 1997 action movie Face/Off. Priceless stuff.

Some very talented people clearly enjoy working with Feig as a director, especially McCarthy. The cast is so good here, much of it the script but also worth mentioning is that they look to be having a ridiculous amount of fun. Statham is a scream, and Law as his co-worker but still rival agent goes for the more suave James Bond angle. As Statham's Ford explains it, a rivalry of MEN. Byrne hams it up just the right amount as the dastardly evil villain (with a giant hair-do) and has some great scenes with McCarthy as they go toe-to-toe. Along with McCarthy and Statham, my favorite part was Peter Serafinowicz as Aldo, Susan's Italian guide, a ladies man, constantly horny, and rather handsy. Too many good laughs to mention. Also worth mentioning is Miranda Hart as Nancy, Susan's work friend who's similarly bookish, a little mousey and looking for some fun In other supporting parts, look for Allison Janney, Morena Baccarin, Bobby Cannavale, and even 50 Cent making an appearance as himself.

This is a really easy movie to like, even love for some viewers no doubt. There aren't many comedies that are both really smart and really dumb at the same time, but this one qualifies. An extremely talented cast, a good script and unique ideas with people willing to think outside the box a little. Hard to beat that. Definitely go see this one.

Spy (2015): ***/****

St. Vincent

So that Bill Murray guy, he's got Saturday Night Live, Stripes, Caddyshack and Ghostbsters to his name. Not a bad career right? Yep, for most, but Murray did all those over about a 10-year stretch. What's weirder? He's in icon status now and probably has more popularity in 2014 than he did 10 or 15 years ago. If he keeps starring in movies like 2014's St. Vincent, that popularity is going to go nowhere but up.

Living in his old Brooklyn home, Vincent MacKenna (Murray) is content to live as a crotchety, grumpy, retired old guy. He goes to the horse track, drinks regularly at the local bar and spends some "quality time" semi-regularly with Daka (Naomi Watts), a pregnant Russian stripper/prostitute. Nothing wrong with all that, right? Well, his cozy, grouchy existence is about to be thrown for a loop. Vincent has some new neighbors next door, a mom, Maggie (Melissa McCarthy), starting a new job as a nurse, and her 12-year old son, Oliver (Jaeden Lieberher). His standoffish, downright rude interactions get things started off on quite the positive -- that's sarcasm -- but Vincent can only do so much. Looking to provide as best as she can, Maggie has to take some long hours, some long shifts...and Oliver needs a babysitter. In steps Vincent who oddly enough gets along with young Oliver pretty well and pretty quickly. No way that oddball friendship works, right?

Ever heard the name Theodore Melfi? Yeah, me neither. To be fair, you shouldn't have. Melfi is a longtime producer who has also directed some short films. This 2014 comedy/drama is his feature film debut, and for good measure, he also wrote the screenplay. It's quite the successful debut with universally positive reviews and a decent box office showing as it picks up some word of mouth while also getting a more major theatrical release. The biggest thing I can say/warn about is that this isn't your typical indie comedy full of quirks and eccentricities and oddballs. All those things are there, but it isn't the exact same movie you've seen over and over again. It is familiar. It is predictable, and you've most likely seen similar movies before. Now all that said...I loved this flick from beginning to end, predictability or not.

Go figure that Bill Murray is really, really good here as Vincent MacKenna. This isn't hamming it up goofy Carl the groundskeeper. This is an excellent acting performance. Rocking an understated, not laid on too heavy Brooklyn accent, Murray gives some real depth to Vincent. You think you know everything about him from the moment you meet him, but credit to Melfi's script. There's a whole lot more going on with Vincent than what we see at first. Yes, he's an alcoholic, he gambles too much and he's rude, crude and politically incorrect, but don't judge too early. Not always likable, not easy to hate, he's a normal guy in his older years struggling with those years passing by.

In the predictability department, it doesn't come as much of a surprise that Murray's cantankerous fogie bonds pretty quickly with Oliver. This is a kid in a new neighborhood and school without many friends, and he doesn't seem too put off by Vincent's standoffish act. They click instantly. Vincent teaches Oliver how to defend himself, to stand up for himself. Is it cliched? Yes, 100 percent, but it is handled in expert fashion. It's got a touch of Gran Torino (Eastwood in the old guy role), but a lighter touch. Young Lieberher is excellent too, a natural, easygoing and likable presence as Oliver. He's not the disgustingly adorable little kid that seems so prevalent in movies. He's just a kid, and that makes all the difference. For Murray, maybe there's an Academy Award nomination in his future. Hopefully at least.

There isn't a weakness in the cast, starting obviously with Mr. Murray and Lieberher. I really like Melissa McCarthy, and it's cool to see her do a funny but still pretty dramatic performance. She gets the laughs, but she doesn't count on the physical, often overdone humor that has limited the potential of a movie like Identity Thief. Watts has some fun as the Russian stripper/prostitute who's pretty clueless but gets along with Vincent just the same. Also look for Chris O'Dowd as the religion teacher at Oliver's school, Terrence Howard as Vincent's bookie, Dario Barosso as Oliver's bully turned friend, and Kimberly Quinn as a nurse Vincent sees once or twice a week. An excellent cast full of interesting, sympathetic (some not as sympathetic) characters that all add that human touch to the story.

I'll give Melfi's script credit. For the most part, it is fairly to pretty predictable. You always kinda have a sense where things are going...until you don't. The script throws the audience for some loops about the halfway point that worked pretty well. Some reviews I read thought it got a little too sentimental, but I thought the tone and story departures worked pretty well. It comes back to a straightforward thought that isn't the most uplifting thought, but it is honest. That thought? "Life ain't tidy." It's rarely easy to fix or solve. Life has problems, often unforeseen problems, and you have to decide how much you want to work to fix those problems. I loved the movie from beginning to end. A good sign of its impact on audiences? The credits feature Murray alone on-screen sitting, just singing and doing some odds and ends.

Nobody in the theater left. We all sat and kept watching it until the end. A testament to the movie, especially to Murray's awesome lead performance. I loved this movie and can't recommend it enough.

St. Vincent (2014): ****/****

The Heat

Right or wrong, what do you think of when you hear 'buddy cop'? I think of Mel Gibson and Danny Glover in the Lethal Weapon series, Will Smith and Martin Lawrence in Bad Boys, Eddie Murphy and Nick Nolte in 48 Hrs. What's the common link? For lack of a better description......it's usually dude buddy cop movies. Until now that is!!! Here we go with 2013's The Heat.

Working out of the branch office, FBI agent Sarah Ashburn (Sandra Bullock) is a very capable agent who's closed her fair share of cases, but all her fellow agents despise her. A supervisor position has opened up, and Ashburn wants nothing more than that promotion but because of her all-around popularity her chances of getting is are slim. She's tasked with going to Boston to help take down a new drug supplier on the scene, a man with no witnesses against him and little evidence. Where to start? Ashburn meets Shannon Mullins (Melissa McCarthy), a hard-edged police officer not too interested in physical appearance or...well, following the rules most police officers live by. Ashburn wants to do things her way but Mullins knows Boston, her sources and the streets. Forming an unlikely partnership that's more of a rivalry, they jump head first into the case, if they don't kill each other first.

Is it a bad thing if you call a movie 'predictable'? I suppose it can be depending on the description, but I don't intend it here. This buddy cop movie with female cops from director Paul Feig (written by Katie Dippold) is very good, very funny and very entertaining from beginning to end. Audiences certainly liked it this past summer, 'Heat' earning over $200 million in theaters. It is R-rated so in the vein of Bridesmaids -- also starring McCarthy -- we get a darker, filthier and far more foul-mouthed comedy with female actresses and comedians getting a chance to be funny. Novel concept, isn't it? There's cursing, raunchiness, some surprising (if not truly graphic) violence and plenty of laughs along the way. Went in hoping for a funny movie if nothing else but came away impressed with a very funny movie with lots of memorable bits and lines.

It is a buddy cop flick though so let's talk about some buddy cops. That type of movie -- male, female, monkeys -- and their successes or failures depend almost entirely on the casting and chemistry. Do you like the buddies? It's hard not to like the pairing here, Bullock and McCarthy showing off that effortless back and forth banter that elevates Dippold's script a notch or two just by their line deliveries. Bullock's Ashburn is the buttoned-down, suit-wearing, all business, all professional agent who does things by the book. McCarthy's Mullins is all about results, wears sweat pants at basically all times, lives in a filthy apartment, isn't worried about making people happy, and generally just has fun with life. Yes, the Odd Couple of Cops. You can tell they like working together, and that's nothing but a positive. The duo is in virtually every scene together so that ain't bad either.

My issue with previous McCarthy parts has nothing to do with whether she's funny or not. She is. She's hilarious. But in Identity Thief and her supporting part in This is 40, it just goes too far. Her improvised bits go on to the point that it's painful to watch. That being said.........ready for a 180 degree change.......'Heat' avoids all those issues. Sure, a fair share of jokes are in horrific taste, but with the right dosage, horrific taste can be funny. McCarthy is as good at physical comedy as just delivering a line, a real double comedic threat. The story is predictable because we know they'll butt heads, see they have to work together, and then become the unlikeliest of friends. The jokes keep things moving in an episodic story that follows the case. The end game, the twist, the reveal, it's all pretty unnecessary. We know where things are going. The jokes are funny, and the purpose is to let Bullock and McCarthy have a ton of fun together. Do we really care who the drug dealer is? Nah, just go along for the ride.

The rest of the cast is solid if unspectacular, filling in the parts around our buddy cop duo in the spotlight. Demian Bichir is Hale, Ashburn's FBI supervisor, with Marlon Wayans playing an FBI agent in Boston aiding the case. Dan Bakkedahl and Taran Killam are two DEA agents following their own evidence on the case, Spoken Reasons is Rojas, a dealer Mullins keeps running into, Michael McDonald is Julian, the right-hand man to the drug supplier, Jane Curtin (underused) and Michael Rapaport as some of Mullins' family, and Thomas F. Wilson as Captain Woods, Mullins' much-maligned precinct commander.

Just a good funny movie. If it doesn't rewrite the comedy or buddy cop genre, so be it. Sit back and enjoy Bullock and McCarthy having a ton of fun together.

The Heat (2013): ***/****

Identity Thief

Although she worked regularly in film and television from the late 1990s, Melissa McCarthy truly burst onto the scene with her Oscar-nominated part in 2011's Bridesmaids. Since then, she's been all over the place with her successful CBS sitcom Mike and Molly and movies like This Is 40, The Hangover Part IV, and another 2013 entry, Identity Thief. Is it worth it to seek it out?

With a decent job, a nice house, two daughters and a third on the way with wife, Trish (Amanda Peet), Sandy Patterson (Jason Bateman) has a pretty decent life, if a dollar-conscious life. He's even started a new job that will pay him more money, giving his family far more financial security....or so he hopes. Sandy starts getting calls from an odd assortment of places confirming appointments and reservations, and then he finds out what's going on. His identity has been stolen, and someone is racking up huge amounts of debts on his accounts. The police are basically handcuffed by the law and jurisdiction, but they can tell Sandy that his thief is a woman, Diana (McCarthy), living it up in Florida on his credit. The only catch? The cops can't do a thing, leaving Sandy to bring her back to face the charges. Oh, this should go smoothly.

I think this comedy from director Seth Gordon is undone by one fatal flaw. If this sounds preachy or condescending, so be it. In the age of Internet thievery and identity theft, the premise here is obviously incredibly timely. Why then does Gordon, scriptwriter Craig Mazin and the film insist on trying to make McCarthy's Diana sympathetic? Again, if that sounds naive or innocent, get over it. She robs people -- more on that issue later -- and then creates her own identity with their name, credit card info and social security number. Maybe it's not even that she does it, but that in the third act 'Thief' tries to rationalize why she does it. Oh, no, she was abandoned as a child! Oh, goodness, I'm sorry you robbed me of all my money! We're good, don't worry about all that identity theft. Just commit, make McCarthy a bad guy. Don't try to rationalize it all.

Onto bigger and better things, other flaws that do a solid job of kneecapping this movie that in its early goings had some potential. The script is atrocious. So many scenes happen and/or develop simply because the movie needs to continue, not because it makes any sense at all for those things to happen. Example No. 1: In the opening scene, Bateman's Sandy picks up the phone and gives McCarthy's Diana his social security number because she says his identity has been tampered with and "her company" can offer security. He gives it to her. Are you kidding me? This guy is a high-level, very intelligent accountant, and he just throws his number out there because the voice at the other end asks for it? Awful. Oh, and my random favorite is when the story requires Sandy and Diana to be stranded in the middle of nowhere. Sandy's rental car is across a lane of traffic on an expressway (just go with it, it's a long story how it got there). An 18-wheeler semi crashes into it at full speed, incinerating it on impact. In what world does that happen? The truck wouldn't stop, turn, avoid it? Then, upon hitting the car, it wouldn't stop?

Amidst all this garbage is the potential for at least a mildly entertaining movie because of the pairing of Bateman and McCarthy, an Odd Couple match made in hell. They do have a great chemistry together, the lunacy of what Bateman's Sandy actually has to do providing some really funny moments through the first 45 minutes. Though the script does her no favors, McCarthy is an extremely talented actress and comedian. She commits to her parts physically, taking abuses you wouldn't normally expect of a female comedian. Once Sandy dupes her into going back to Denver to settle things, Diana basically decides to make the trip a living hell. Some scenes go too far, just pushing further than they need. If the flick would have figured out a better, more pointed tone, then we'd be onto something, but instead the two talented actors are left swinging in the breeze. Bateman's deadpan delivery paired with McCarthy's over the top antics work surprisingly well.

The rest of the cast doesn't come away so well. Peet is good in a thankless part as Sandy's worrying, well-meaning wife. Jon Favreau is ridiculously bad as Cornish, Sandy's ignorant, very rich boss who has no concept of what human interactions are really like. Genesis Rodriguez and rapper T.I. are unnecessary as two henchmen of a jailed drug cartel leader (Jonathan Banks) who Diana pisses off (because there wasn't enough going on in the story already) and are trailing her. Similarly unnecessary is Robert Patrick as a debt collector with $ for eyes. Also look for John Cho and Morris Chestnut in supporting parts. 

While I enjoyed the first 40-45 minutes or so, things derail and do so quickly. The movie clocks in at a ridiculously long 111 minutes. There are multiple points where I thought things were wrapping up, and then it keeps going. One stupid scene after another develops, things getting more ridiculous by the scene. At one point, Sandy actually has a snake fall from a tree onto his neck, Diana trying to remove the snake with a stick on fire. By the time Diana meets Sandy's family and we hear her sob story, I was done. It's a wasted opportunity here. Hopefully there isn't a sequel coming our way either, but I certainly wouldn't be surprised.

Identity Thief (2013): * 1/2 /****

This Is 40

Released in 2007, Knocked Up was a more than worthy follow-up to director Judd Apatow's surprise success with The 40-Year Old Virgin. It was an uneven if funny flick with a whole lot of talent assembled and a decent amount of laughs. Apatow takes a few key characters from 'Knocked' and hits us with a quasi-sequel, 2012's This Is 40.

Married for 16 years, Pete (Paul Rudd) and Debbie (Leslie Mann) are about to hit a big milestone....they're both turning 40. Well, Pete's turning 40, but Debbie refuses to admit she could possibly be 40 years old. Their marriage and home life have hit a bit of a rough patch as Pete's record label is struggling to find a niche while Debbie's boutique losing money by the barrel. Back at home, teenager Sadie (Maude Apatow) is mad at everything while younger daughter Charlotte (Iris Apatow) is just trying to grow up and not get killed by her sister. Both Pete and Debbie are struggling to find any sort of norm and with a whole bunch of problems from marriage to family to finances to work, nothing comes easy, and their marriage is paying the price.

Do you notice anything about the plot description? Well, my first thought upon finishing the movie and then starting the review that nothing about it screams funny. I get it. Life's inherent goofiness, craziness and uniqueness can produce some laughs from a natural place. '40' does have its moments. The cast is far too talented not to get some laughs, even if it was by accident. Those laughs come mostly in the meandering first half of the movie that introduces a whole lot of characters and a whole lot of subplots. It is funny. Apatow does know how to write characters and a solid script, but it also goes down a very dark route in the second half. The laughs are left by the wayside, and '40' turns into one depressing, not so enjoyable movie in the second half.

Key supporting players in Knocked Up, Rudd's Pete and Mann's Debbie get their shots at the lead roles here. While it isn't always funny (far from it), the comedic duo does have a very believable chemistry together. That's not always a good thing though for this longtime married couple who has seen their marriage lose some of its luster. Both are talented actors/comedians, whatever you want to call it, but at a certain point this movie becomes Pete and Debbie screaming at each other over and over again. Oh, and again. I haven't been married for 16 years -- I'm 27 as I write this -- so I don't know about all the good and bad of a 16-year marriage. It feels authentic because obviously marriage isn't a walk in the park. As this marriage though hits a rough patch, it ceases to be an enjoyable film. '40' is too downbeat for its own good, and even talents like Rudd and Mann can't save it from its own darkness.

As a director, writer, producer, Apatow is a very talented guy, and people clearly want to work with him. The supporting cast in basically all his movies illustrate that point. Jason Segel returns as Jason, Deb's trainer who's got a way with the ladies. Albert Brooks is a welcome addition to the cast as Larry, Pete's father who keeps borrowing money, while John Lithgow plays Deb's estranged father. Megan Fox shows she's got some comedic chops as Desi, one of Deb's employees while Chris O'Dowd and Lena Dunham (of HBO's Girls) play two of Pete's record label employees. Robert Smigel is memorable as Barry, Pete's friend.

So obviously a lot of talent is on hand here. At a certain point I got the feeling Apatow just ran with the premise that 'Hey, I'm working with (Insert Star's Name here)!' and didn't know what to do with himself. Oh, and there's more names so keep on reading. It's almost schizophrenic in its entirety. Brooks and Lithgow are somewhat necessary to the story. Other than that? Not so much. Segel is a trainer who wants to hook up with Fox who may or may not be stealing from Deb's store. O'Dowd is a goofy quasi-stoner who wants to hook up with Fox. Dunham makes a couple snarky comments. Smigel is perfect in deadpan fashion. There are too many storylines going on here from Deb and Pete's financial troubles, to a subplot with British rocker Graham Parker, to a drug-laced weekend getaway, to problems with the kids at school. Is this life? Yeah, in some fashion, but that doesn't make it a good movie.

The word that came to mind a lot as this movie wore on was 'self-indulgent.' '40' clocks in at a robust, far too long 134 minutes. With an episodic, drifting story, it goes on endlessly and could have been cut by about 40 minutes. The very funny Melissa McCarthy makes an appearance as a foul-mouthed mother, her improvised scene never ending (and uncomfortable to boot). Returning from Knocked Up, Charlyne Yi is ridiculously unfunny as the pill-popping Jodi, delivering a painfully awkward scene under the drug influence. Did Segel or O'Dowd even need to be in the movie? I wanted to like this movie, but I just couldn't get on board with it. A huge disappointment.

This Is 40 (2012): **/****

The Hangover Part III

While I liked 2011's The Hangover Part II, I can admit it was far from the most original story. I liked it almost in spite of itself. It was inevitable, wasn't it? In the age of the unnecessary sequels, it was only a matter of time before there was another follow-up. Naturally, I was a little concerned/suspicious/wary of a second sequel, but I've invested this much time so one more movie wouldn't kill me. And away we go with 2013's The Hangover Part III.

It's been two years since the hijinks in Bangkok, and the Wolfpack has moved on....for the most part. Alan (Zach Galifianakis) has hit a bit of a rough patch and gone off his meds. His family and friends are worried about him though and manage to convince him to go to a quasi-rehab center in Arizona. Well, that's the plan at least. With Phil (Bradley Cooper), Stu (Ed Helms) and Doug (Justin Bartha) along for the ride, the quartet heads out to bring Alan to the facility only to be stopped in the middle of the desert by a revenge-seeking gangster, Marshall (John Goodman). Years ago, Marshall had a costly run-in with a certain Leslie Chow (Ken Jeong). Marshall threatens to kill Doug unless the group can bring Chow to him. Recently escaped from a high security prison in Thailand, Chow won't make it easy though. From Tijuana to Las Vegas, the Wolfpack has one last adventure.

Have you made it to the third paragraph of this review? Congratulations! I imagine most people know/knew prior to starting this review whether or not they were going to seek this sequel out. Did you like The Hangover (a classic) and The Hangover Part II (meh but entertaining)? Then you'll like this movie. It is simple as that. Don't expect anything hugely groundbreaking, just good, solid laughs with characters we've come to like a lot by this third movie.

My biggest worry heading into this sequel from director Todd Phillips (the first two Hangovers, Old School, Due Date) was that....well, that it would be the same movie I'd seen twice before. I came away from Hangover 2 liking it, but feeling ashamed I liked it because it was literally the same movie as the first with Bangkok replacing Las Vegas. Thankfully, Phillips and script co-writer Craig Mazin didn't go for 'same old, same old' here, and the movie benefits greatly from it. There's no literal hangover here. The crew doesn't wake up after a night of debauchery and partying and have to find out how they got to that point. Instead, we get some background with Jeong's Chow, Goodman's Marshall, the Wolfpack and some $42 million in gold bars (just go with it). It's a little forced, but it's different.

Drinking, drugs, debauchery and everything else aside, I came back to the movie because of the cast. Cooper, Helms and Galifianakis are perfect together. Phil the smarmy, confident, good-looking guy, Helms the tortured demon-possessed quasi-normal guy, and Alan the all-around, off-the-wall screwball. Put those weird differences in personality together, and you've got a perfectly cast comedy trio. What they get into gets crazier and crazier, but 'Part III' is just better if you go along with it. Alan has an epic man crush on Phil who just wants to get Doug back while Stu resents everything about what they've gotten themselves into. Oh, and Bartha returns in a part that has to be painful for him. He's there, then gone, then back, then gone again as the story requires.

The best supporting part goes to Jeong though as Leslie Chow, international thief and all-around nut bag. The character is the definition of unpredictable. At different points, he sings karaoke to Johnny Cash's Hurt, pretends to be a dog and eats dog food, parachutes off Caesar's Palace, escapes from a high security prison, and steals a hidden cache of gold. Goodman too is a welcome presence as Marshall, the mobster who wants nothing but revenge on Chow. Also new, Melissa McCarthy is a scene-stealer as Cassie, a pawn shop owner who takes a shine to Alan. Heather Graham as Jade the stripper and Mike Epps as Black Doug also return from the first flick. And last but not least, yes, we see 4-year old Carlos, a really good scene between him and Alan.

There's that something missing that would have made this sequel really special, but I can't put my finger on it. It's missing a certain energy, and at 100 minutes feels a tad rushed. With all the craziness, it never slows down and wraps up rather quickly/abruptly. None of this is a movie-killer, but it does prevent it from reaching that full potential. It's really good stuff that could have been great. And according to cast and crew, this will be the final Hangover movie. That's the right decision. Now that said, stick around for the credits. It's the perfect final scene, bringing everything full circle with one good surprise after another. A worthy finale to a series that had its ups and downs but one that's definitely finishing out strong.

The Hangover Part III (2013): ***/****

Bridesmaids

For almost 40 years now, Saturday Night Live has consistently produced comedic actors that have gone on to bigger and better things. John Belushi, Chevy Chase, Eddie Murphy, Chris Farley, Will Ferrell and many more. But lost amidst all the funny guy comedians have been the female comedians. They're fewer and far between though, but of the last 10 years or so the female cast members have stepped to the forefront, especially Kristen Wiig who wrote and helped produce 2011's Bridesmaids.

In her mid 30s, Annie (Wiig) has hit a low-point in her life. Her self-started bakery has closed in the recession, she lives with a creepy British brother and sister, her car is a piece of junk, and she hates herself for being a hook-up buddy with Ted (an uncredited Jon Hamm). Her best friend, Lillian (Maya Rudolph), has gotten engaged and asks Annie to be her maid of honor. Annie definitely wants to take the role, honored by the question, but the task and responsibility might be a little too much for her to handle, especially when Helen (Rose Byrne), Lil's new friend, threatens to take over. Hopefully Annie can keep it together until the wedding.

I'm going to get this out of the way early. I liked Bridesmaids, but I didn't love it. I think it was intentionally mis-marketed to look like a girls version of The Hangover, and it really isn't. Part of the humor maybe I missed because I'm a guy (not to sound sexist), but I definitely feel like I missed some of the laughs/situations. As one IMDB reviewer pointed out -- and I tend to agree -- this is a chick flick disguised as a raunchy comedy. It's still good, but not as good as I was hoping. Wiig's script with Annie Mumolo (who makes a funny cameo) is well-written, but the movie isn't quite what it was made out to be. Funny, but not the instant classic it was made out to be.

Working together like the Wolfpack of The Hangover, Wiig, Rudolph and Byrne lead a strong group of female comedians. Dating back to their days on SNL, Wiig and Rudolph have a good chemistry together that doesn't feel like acting, just two legitimate friends doing some lines together. Byrne's Helen is the late-comer to the party, a rich, snobby woman who's the wife of Lill's husband's boss (there's a mouthful for you). The rivalry does produce some solid laughs, one woman trying to out-do the other. The group also includes Rita (Wendi McLendon-Covey), a mother of three who desperately wants to escape her home life, Becca (Ellie Kemper), the newlywed discovering all the "joys" of marriage, and Megan (Melissa McCarthy), Lil's off-the-wall, brutally honest future sister-in-law. Each character is different, adding a dynamic to the group, each given a chance to get their fair share of laughs.

Certain parts of the movie are truly funny, hilarious stuff that had me crying. Okay, one scene, but you get the point. What works, really works. McCarthy as Megan earned an Oscar nomination for Best Supporting Actress, maybe a stretch, but she's the best thing going for this one. She is the rare physical female comedian, not afraid of her weight or size and willing to commit for the laughs. The dress fitting scene post-Brazilian restaurant -- uh-oh, food poisoning! -- is bathroom humor, but it is hysterical in its execution, especially thanks to McCarthy's response. A flight to Vegas for the bachelorette party takes a turn for the worse, Wiig's Annie struggling with the situation and her fear of flying while Megan is sure the passenger (Ben Falcone) is an Air Marshal. These two extended bits rise above the rest, followed closely by Annie's freak-out session at the shower, and bring the most laughs.

It's too bad there couldn't have been more of that humor, the big laughs. Instead this rather long comedy -- at 125 minutes -- decides to go down a not so funny route in the second half. The story goes doom and gloom as Annie starts to pout and freak out about her life situation. And with it, the laughs come to a screeching halt. The story focuses more on her flirting relationship with dream Irish cop, Nate Rhodes (Chris O'Dowd), which feels like any number of romantic comedies you can see elsewhere. Oh no, chick flick alert! It feels like it's been done before, getting away from what made earlier parts of the movie truly funny. Wiig is a very funny and talented actress, but this mid-life crisis the story delves into is disappointing.

Still funny -- sometimes very funny -- but not quite what it was made out to be. And good luck to McCarthy, one of the rising stars in comedy, at the Oscars. I'm sick of hearing about The Help. Bring home a win for Plainfield! The trailer below seems to have a lot of cut scenes too FYI.

Bridesmaids <---trailer (2011): ** 1/2 /****