Director Todd Phillips has amassed a great track record for wild and funny R-rated comedies. This weekend, his latest effort, The Hangover Part II
has already amassed a reasonably impressive $31.66 million dollars since opening Wednesday. He stands to soon be credited as the director of the number one and two highest grossing R-rated comedies of all time (current champ is the first Hangover movie, but details on that if you read further), which invariably will lead to talk about a third film. In the mean time if you are interested in checking other work from the Brooklyn native's filmography, here are four great films to start looking:
Due Date
: It would seem like a pretty boring premise, a buddy comedy about two men (Robert Downey Jr.'s Peter and Zach Galifianakis' Ethan) driving cross-country so that Peter can be present for the birth of his first child. Yet, the trip is funnier and more unexpected than that with some surprisingly somber moments. It's certainly Phillips' most mature work as a filmmaker as we follow Peter's emotional journey as the uptight man must begin to adjust to insanity and change while dealing with the irrational Ethan. Some may be frustrated that not every subplot is wrapped as nicely as you may be expect of a movie, but it hits the correct chords to its inevitable conclusion. This is certainly serviced by its two exceptionally funny leads who have such divergent energies and methods of comedic delivery that its a good film for people with diverging senses of humor to agree on watching.Grade: A-
The Hangover
: I previously reviewed this film for the Examiner and awarded it the moniker of best DVD of 2009, but its too good and timely to ignore. This comedy about an unlikely trio of groomsmen (Bradley Cooper, Ed Helms, Galifianakis) trying to piece together what happened the night before during a Vegas bachelor party gone wrong is hysterical. It has a clear goal (find the groom played by Justin Bartha), and follows a cleverly plotted detective story based on some bizarre clues. It's absurdist humor, shocking turns, and deft cast make it a comedy worth repeat viewings. There's quite a few reasons here why the studio wanted the sequel and are trying to recapture this magic. Ken Jeong's scene-stealing Mr. Chow popping out of nowhere and Mike Tyson's surprising cameo are only the opening arguments.Grade: A
Old School:
If you like this movie about three adult men (played by Vince Vaughan, Will Ferrell and Luke Wilson) who decide to start their own fraternity then it is because you are a fan of its stars. Of the four films featured it has the most scattered tone and story arc because it seems to be more a film to give excuse for these equally talented comedians to be thrown together on the same screen. There are a number of laugh out loud moments, but they are buried in the synconicities of its performers rather than the story being told.Grade: B
Road Trip
: You would think that any film prominently featuring Tom Green (remember when he was really popular on MTV and married to Drew Barrymore?) would just now be a nostalgic road trip of the 90s. Yet, on second look it still holds up as a strong comedy with a completely unbelievable concept that was strengthened by its crazy talented cast (thank you Breckin Meyer, DJ Qualls, Seann William Scott, Amy Smart, Paolo Costanzo, Anthony Rapp) who have all gone on to varying degrees of success. The movie follows everyman Josh (Meyer) as he talks his friends (Scott, Costanzo, Qualls) into a road trip to see his girlfriend (Rachel Blanchard) so that they may steal back the sex tape Josh made with a local co-ed (Smart) and somehow manage to also pass his final exams (despite a villainous TA played by Rapp trying to sabotage the mission on both levels). This is not a high-brow film on any level, but features clever jokes, services its characters thoughtfully, and will certainly keep audiences laugh out loud laughing throughout. Grade: B+
eally popular on MTV and married to Drew Barrymore?) would just now be a nostalgic road trip of the 90s. Yet, on second look it still holds up as a strong comedy with a completely unbelievable concept that was strengthened by its crazy talented cast (thank you Breckin Meyer, DJ Qualls, Seann William Scott, Amy Smart, Paolo Costanzo, Anthony Rapp) who have all gone on to varying degrees of success. The movie follows everyman Josh (Meyer) as he talks his friends (Scott, Costanzo, Qualls) into a road trip to see his girlfriend (Rachel Blanchard) so that they may steal back the sex tape Josh made with a local co-ed (Smart) and somehow manage to also pass his final exams (despite a villainous TA played by Rapp trying to sabotage the mission on both levels). This is not a high-brow film on any level, but features clever jokes, services its characters thoughtfully, and will certainly keep audiences laugh out loud laughing throughout. Grade: B+
is an original musical based on the life of eventual FBI analyst Frank Abagnale Jr. After Abagnale's own 
and the 
of his life, as directed by Steven Spielberg (starring Leonardo DiCaprio and Tom Hanks), some may wonder how this story can still be told and compel audiences. Well, here's apparently what you do: bring in a witty lyricist (Scott Wittman), stylish composer (Marc Shaiman), an experienced and clever writer (Terrence McNally), a choreographer that can give panache to even the most odd of dance sequences (Jerry Mitchell), a director with a strong vision (Jack O'Brien), and throw in some of the finest performers that have graced Broadway in the last decade (we'll name some names in a bit).
(which was written by Wittman & Shaiman, choreographed by Mitchell, and directed by O'Brien), Fiyero in 
, and probably most famously, originating the role of Gabe in the Pulitzer-prize winning musical 
. Where Tveit has primarily been a supporting player in the past, here he practically holds the entire show on his shoulders. If you don't like Frank, you're not going to like Catch Me If You Can, thankfully you should like Aaron and therefore Frank here. Tveit has the slick charm that makes every inconceivable thing Abagnale actually did seem plausible. His strong voice and dance skills hit each note on a technical level, but it is only when he hits his final solo number (the aptly titled "Goodbye") that he really seems to let his voice and heart soar. You are not only seeing Frank in wonder over the audience that he has held captive, taking in his story, you get to see a glimmer of Tveit's own glee (which may not be professional but its refreshingly fun to see). Hopefully we will see much more of him on stage (although I'm sure some of his fan girls would love him to go back to 
for weekly doses).
, 
, 
, 
, and even won the Tony for the inescapably catchy 
. Amazingly this may be Butz's finest hour as the beleaguered Hanratty (a debate could still be made for 
role are in for a wake-up call. De Benedet has elegant grace as Frank's French mother, who has her own illusion acts to play on the authorities when the knock on her door. Then there is Butler (veteran of many shows big and small herself) who brings a sweet vulnerability to the naive Brenda, who gets involved with Frank while he's under one of his aliases. It's shame she didn't get more time for the audience to develop a rapport with her because her number "Fly Fly Away" is a lovely glimpse at a plot that could have been developed nicely in her hands. Yet, this show really is for the boys.
" but its still not as standalone like "
" or "
" havebecome). McNally's book effectively tells the story that has been told many times before with some fresh reveals, clever one-liners ("I Like Girls" will be a popular T-shirt, I forsee), and generally solid structure. Some may gripe that the father-son metaphors are a bit too heavy-handed between Frank and Hanratty, particularly at the end of Act One, but its a necessary evil for the most part based on the story being told. Director O'Brien uses his stage well, every inch is utilized to tell the story and keep it moving; there are no awkward pauses for expansive sets or dancing girls to be moved here. 
opened on Broadway last week. This is Kramer's Broadway debut, but considering how old the play technically is it was submitted for awards as a revival and 
. In the intervening two decades he has carved out a celebrated career as a director of Broadway shows such as 
(Tony win, Best Director of a Play)
(Tony win, Best Director of a Musical), and 
Here Mantello provides a strong, grounding performance as Ned that finds a fascinating mix of wit, charm, and snark to highlight the many sometimes difficult to understand facets of his character. His primary partner in crime is the equally wonderful Hickey, who provides a nuanced performance that slowly builds with his character's many revelations and twists. It's a painful role, difficult to convey the polar opposites of this man we meet so full of life at the beginning, and whom we leave at the end of the play so lost. If anyone is going to risk making you cry, it's Hickey for his sheer gal and evocative readings of the dialogue.
, you will love him here and be surprised by just how strong a performer he truly is. Parsons handles much of the comedy in the show, a great relief actor that the 
star handles nimbly. Breen, who made a splash on Broadway in 
, is both hysterical and a startling voice of reason to each of the character's at varying moments. Somehow, he manages to strike just the right chord at the right moment where you'll consistently nod your head along to him, even when it seems contradictory to what he's said before. 
alum Joel Grey (who was an early replacement Ned during its first Off-Broadway run) with assistance from George C. Wolfe the show is kept crisp and clean. There is no filler or distracting stage business occurring to deter the audience from focusing on the words, the interplay, the facts, and the message of the show. His use of actors as near set pieces, ghosts and reminders in the background is not to be ignored. There is a reason he has certain people there, saying nothing, but there for the audience to witness their presence.