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Comedy Sequels: The Few Good, The Plentiful Bad & The Genuinely Weird

by Gabe Toro
July 11, 2013 4:10 PM
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Caddyshack II
“Caddyshack II”
Imagine if the studio announced they were putting the pieces together on “Anchorman 2,” but it was centered around a completely unrelated news team at the same Channel Four as the first picture. That’s essentially what happened when they opted to bring none of the gang back for “Caddyshack II,” instead figuring that director Allan Arkush (“Rock ’n’ Roll High School”) could make hay out of a cast that included Jackie Mason, Dan Aykroyd and Randy Quaid, figuring the golf-related jokes would carry the audience’s interest. The slobs vs. snobs parallels are still present, as “Caddyshack II” carries the feeling of a film that went through many different itinerations, with Mason ostensibly filling in for a once-thought-to-be-returning Rodney Dangerfield. The story carries on as such, with a war being fought to get the wealthy average Joe played by Mason into a membership slot, a scenario so dull they needed to bring back the gopher from the first film and actually allowing him to talk in order to fill screen time. While Chevy Chase is the single cast member that returns from the original, it’s telling that the lawless troublemaker of the first film is now the majority owner of the clubhouse: the geeks have inherited the penthouse, and no one is really minding the door. Famously, Chase was open about regretting his return trip to the ‘shack; considering Chase’s many dubious career choices, that’s saying something.  

“Arthur 2: On The Rocks”
“Arthur 2: On The Rocks”

The best (read: worst) way to continue a story inorganically is to roll back all the character growth that occurred in part one. It’s why the end of “Arthur” seemed to suggest the titular drunk was turning over a new leaf and attempting to build a new life, but the sequel begins years later with no one worried he’s fallen back into drinking. Dudley Moore fits this role like a shoe, which is why it’s depressing to see him roll around and drawl through the part as he and his new wife (Liza Minelli) prepare to have a child. Seeking revenge, however, is Susan, the spurned lover of the first film (recast as Cynthia Sikes), and with her father, they scheme to wrangle Arthur’s inheritance from him. Our title character is now implausibly rendered homeless just as he’s attempting to prove to the adoption agency that he and his wife are a suitable couple. It’s a whole lot of rings to jump through in order to provide this film with a softer touch than the first film, a gesture that seems in-line with society’s growing worry about alcoholism as a disease, and not the charming attribute from the first film.  By the time the ghost of his old valet Hobson (Sir John Gielgud) appears to help get Arthur over his troubles, the film is very visibly running on fumes in an attempt to reach a suitable runtime.

“Meet The Fockers”
"Meet The Fockers"
There’s a dulling inevitability to success of a contemporary film, in that the formula is about to resurface a few more times, and if the first film isn’t any good, they’ll be content with success and port the formula over for part two. Such is the case from most bottom-feeding studio comedies of this period, which is how “Meet The Fockers” somehow, for a brief time, became the highest grossing live action comedy in history. Chew on that for a moment. The sequel finds uptight patriarch Robert De Niro meeting the Focker folks, played by a free-loving Dustin Hoffman and Barbara Streisand in performances that redefine shtick. What’s startling about “Meet The Fockers” is about how unadventurous it is, with Greg Focker (Ben Stiller) constantly finding humiliation from the interactions of daffy liberal Hoffman and ramrod-straight De Niro (not like there’s a real political divide of any type dividing these characters). In the seventies, if you said there would be a movie coming in thirty years starring Robert De Niro and Dustin Hoffman, we’d think it was a slow burn must-see character piece. Once bright writer-director Tim Blake Nelson shows up in the final act in his day job as backwards yokel for big studio films, it’s clear this is as far from that hypothetical movie as you could get.

The Hangover Part II
“The Hangover Part II”
“Get this… they get hung over again!” After the absurd success of the first film, it only makes sense that director Todd Phillips essentially walked into the Warner Bros. offices, shrugged, and presented an outline that would essentially mimic nearly every plot point from the first film. It’s an act of unusual, borderline amusing self-sabotage, and it would almost count as transgressive had it not worked so well, with the film outgrossing its predecessor. This time around, the Wolf Pack is in Bangkok for a wedding, only for childlike Alan (Zack Galifianakis) to drug them all again in an attempt at prompting Ubuntu between the group. What follows is yet another prolonged search for poor, missing Doug (Justin Bartha) while the film keeps hinting at a darker, more dangerous film that never manifests. By the time Phillips got to the nearly jokeless “The Hangover Part III” the revelation was that Phillips never cared for these characters in the first place, and the many motifs and characters inexplicably returning for this relocated second film suggest a director with little regard for his bankrollers or his audience. It’s too bad, because Phillips here is wasting a great trio of comedic performers, allowing them to go through the motions one more time for the sake of a paycheck, with nary an acting challenge in sight. Their pockets certainly got fatter, however, and that’s likely the lasting image anyone has of this sequel.

“Son Of The Mask”
“Son Of The Mask”
Jim Carrey seemed to figure out the score after “Ace Ventura: When Nature Calls,” bowing out of sequels to his most popular fare. The end result was only proof of his stardom: prequel “Dumb And Dumberer: When Harry Met Lloyd” was quickly forgotten, while “Evan Almighty” was a tremendous financial sinkhole. But eleven years after “The Mask,” New Line Cinema got back on the horse with the 'Mask' mythology, crafting an unusually unpleasant, remarkably bizarre, ultimately artless endeavor. While the first film notably softened the original comic books’ madcap gruesome violence, “Son Of The Mask” goes even farther, grounding the story in family film territory with the tale of a mild-mannered cartoonist who gains possession of the mask, but must keep it out of the hands of flamboyant God of Mischief Loki (Alan Cumming). Non-entity Jamie Kennedy was such an underwhelming replacement for Carrey that they purposely kept the image of him in the mask out of ads, instead emphasizing sequences where the baby and family dog wear the mask and become horrifically-animated CGI monstrosities. “Son Of The Mask” piles through Tex Avery homages like a runaway train as Kennedy and Cumming attempt to out-mug each other in an effects tornado that reaches Dadaist levels of incoherence. Kennedy would later be so consumed with the negative reactions to the film (of which he is far from the worst element) that he would devote an entire portion of his documentary “Heckler” to insulting critics of the picture to their face, a silly tactic that nonetheless is likely the lasting legacy of this overbudgeted disaster.

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  • Bob Fossil | June 11, 2014 2:49 PMReply

    I was surprised to see Gremlins 2 in such pitiful company. And where the hell was last year's Anchorman 2?

  • jimmiescoffee | June 10, 2014 6:07 PMReply

    gremlins 2 is awesome

  • Gabe fool | July 20, 2013 4:19 AMReply


    Justin Bartha's character does not go missing in the second one. Check imdb or wiki before you write.

  • TheoC | July 12, 2013 5:36 AMReply

    Nice, to see Adamms Family value get its mention. It's one of my favourite non canon Simpson's episodes.

  • Cameron | July 12, 2013 12:39 AMReply

    Screw you guys. Austin Powers 2 has got a lot of funny stuff in it. You have no taste!

  • Justin | July 11, 2013 11:14 PMReply

    Gremlins 2 is the best non-Looney-Tunes Looney Tunes movie ever made.

  • Charles | July 11, 2013 9:26 PMReply

    Do you really honestly believe that Peter Sellers was the straight man to Nivens in the original PINK PANTHER? Clouseau plays a violin (horribly) in bed during foreplay with his wife. Niven is the one who became the straight man. His character was supposed to be funny until Sellers stole the show.

    That being said, I'm glad A SHOT IN THE DARK made the list. It's the best film in the series and one of the greatest comedies of all time.

    Clouseau is the ultimate imbecile. I don't understand saying he's "endlessly distracted" rather than imbecilic. That is bizarre. What makes the character so hilarious is how arrogant he is despite being a complete imbecile. The only character who is more of an idiot than Clouseau is his faithful servant, Cato.

  • revenge of the commenter | July 11, 2013 5:18 PMReply

    Revenge of the Nerds 2 has the same tropic shirted spiked punch excess that makes Weekend at Bernie's 2 a drunken cult guilty pleasure.

    Fubar 2 has an opening 10 minutes that is worthy of Fubar 1 and the hard labor subplot takes just enough creative risk. Underrated.

    If Chud 2 and Blob 2 are deemed comedies, then Fright Night 2 should be included, as it's far better and funnier than most anyone remembers.

    Bad Boys 2 is the globalist cheeseburger of comedy sequels.

    Beverly Hills Cop 2 is so unnecessary that it works.


    Fletch Too is a disgrace, and ignored a warchest of quality sequelized novels by the character's creator.

    Big Top Pee-Wee stuffed too many animals into the mix, sure sign of decline

    Meatballs 2

    Look Who's Talking Also (Too?)

    Ace Ventura 2 was garbage.
    Big Top

  • jimmiescoffee | July 11, 2013 4:42 PMReply

    Gremlins 2 and Austin Powers 2 are both good.

  • cory everett | July 11, 2013 4:24 PMReply

    Glad to see 'Bogus Journey' on here (better than the original!) and shout out to "Wayne's World 2" which upon revisiting recently I think is *almost* as good as the first one.

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