(Video on Demand, February 2014) Hollywood is growing old alongside a significant proportion of its audience, so it’s not surprising to find more and more movies aimed at older audiences. Suffice to say that Last Vegas is at least better than The Expendables series is confronting how yesterday’s superstars can go gently into semi-retirement. Focusing on four older men coming to spend a wild weekend in Vegas to celebrate one of their own’s nuptials to a (much) younger woman, Last Vegas soon turns to debauchery of a gentle kind, winking in The Hangover‘s direction without quite committing to such outrageousness. It’s sort-of-hypocritical to see stars like Michael Douglas and Robert de Niro (both of whom married significantly younger women) espouse the rightness of marrying age-appropriately, but when the object of their affection is the astonishingly good-looking Mary Steenburgen (still seven years their junior, one notes), it’s hard to complain that much. It helps that the film has a middle-of-the-road comic sensibility, amusing without being outrageous, and carefully pacing its development to gently lull viewers to a surprise-free climax. Kevin Kline and Morgan Freeman provide able supporting performances in filling an aging brat-pack. De Niro sort-of reprises his tough-guy persona (De Niro scholars are already talking about the self-referential second half of his career), Douglas oozes a slightly-oily charm, Kline does fine comic work, while Freeman is fun just being Freeman. Director Jon Turteltaub faithfully directs a decently-structured but timid script, and Vegas’s attractions do the rest. Last Vegas doesn’t amount to much, and that’s probably the point: this is mass-market comedy aiming older, and there’s no need to be bold or outrageous when nostalgia and gentle chuckles will keep the target audience happy. So it goes that the film is light entertainment, almost instantly forgettable but decently pleasant while it plays.
(On DVD, June 2011) I’m just as surprised as anyone else that I lasted two years without seeing one of the cultural movie touchstones of 2009, the R-rated comedy that affirmed the dominance of the arrested-male-teenager as the comic archetype of the time. I have little patience with the form and didn’t expect to like The Hangover much, but as it happens there’s quite a bit to like in its cheerfully anarchic approach to plotting, as it uses flashbacks, comic detective work and wild characters in one big pile. Todd Phillips’ directing is assured and neatly guides viewers through a more complex narrative structure than is the norm for comedies. It helps a lot that the characters are interesting in their own right: Bradley Cooper’s natural charisma transforms a borderline-repellent role into something nearly cool, while Ed Helms proves a lot less annoying than I’d initially guessed and Ken Jeong supercharges every single scene he’s in. Small roles for Mike Tyson (not someone I’d hold as a role model) and Jeffrey Tambor also work well, although I still can’t think of Zach Galifianakis as anything but obnoxious (and discover retroactively that he played the same character in Due Date). For all of the icky what-happens-in-Vegas immaturity, there are a few chuckles here and there: it’s hard to begrudge a film as likable as it is foul-mouthed. Alas, I didn’t go completely crazy for the film: Fonder flashbacks to Fear and Loathing in Las Vegas (curiously unacknowledged) and the far funnier absurdist amnesia masterpiece Dude, Where’s My Car? held me back. But comedy’s notoriously subjective, and it’s not as if I actually disliked The Hangover: I just found it a bit underwhelming, most likely conceived from assumptions that I don’t share.