2010 Won Eddie Best Edited Feature Film (Comedy or Musical) Debra Neil-Fisher
Art Directors Guild
2010 Nominated Excellence in Production Design Award Contemporary Films Bill Brzeski (production designer); Andrew Max Cahn & A. Todd Holland (art directors); Desma Murphy (assistant art director); Anshuman Prasad (set designer); Jane Fitts (graphic designer) & Danielle Berman (set decorator)
In The Hangover, Todd Phillips's brilliant and hilarious contemporary Restoration comedy, soon-to-be-married Doug (Justin Bartha) and his friends Phil (Bradley Cooper), Stu (Ed Helms), and Ne'er-do-well brother-in-law Alan (Zach Galifianakis) head to Las Vegas for a bachelor party in Doug's father-in-law's vintage Mercedes convertible. They toast on the roof of Caesar's Palace, excited for the night to begin, and with genius aplomb we smash-cut to the next morning.
Doug is gone, there's a tiger in the bathroom, a baby in the closet, a chicken running around the suite, and Stu is missing teeth. When they go downstairs to investigate and search for Doug, the hotel valet runs around in a stolen police cruiser instead of the valuable and pristine Mercedes. The raunchy, screwball comedy has its roots in Bringing Up Baby, but it remains firmly modern when they learn that Alan has mistakenly dosed them all with roofies, thus leading to the collective blackout, but also to some surprising bravery, ingenuity, and much stupidity - including the now-infamous confrontation and practical joke played on former heavyweight champion Mike Tyson.
The clues lead them through an intoxicating and genius journey of smut, sluts, violence, and genuine hilarity. As a modern Restoration comedy, The Hangover is a meditation on marriage, sex, drugs, and class until, in the end, social order is regained. In the end, too, we to get to fill in all the necessary blanks when a camera with choice shots of the lost night surfaces and the pictures play perfectly through the credits.
Three sets of twins and a dummy were used to portray the baby.
No effects or prosthetics were created for Stu's missing tooth. Actor Ed Helms never had an adult incisor grow, and his fake incisor was taken out for the parts of filming where Stu's tooth is missing.
Phil Wenneck: [his answering machine message] Hey, this is Phil. Leave me a message, or don't, but do me a favor: don't text me, it's gay.
Doug Billings: Tracy did mention we shouldn't let him gamble. Or drink too much.
Phil Wenneck: Jesus, he's like a gremlin. Comes with instructions and shit.
Stu Price: We're in a stolen cop car with what is sure to be a missing child in the back. What part of this is cool?
Alan Garner: I think the cop car part's pretty cool.
Stu Price: She's got my grandmother's Holocaust ring!
Alan Garner: I didn't know they gave out rings at the Holocaust.
GOOFS AND BLUNDERS
During the scene with Mike Tyson, you can see the reflection of the crew and equipment in Phil's sunglasses.
When the guys push the car to Mike Tyson's house, lighting equipment, the camera and crew members are reflected on the side of the car
As the stolen cop car drives up onto the Vegas sidewalk, you can clearly see the camera crew from the reflection in the marble building as they dolly along with the car.
During the first fight with the Chinese guys the camera crew can easily be seen in the reflection of the bus stop in the background.
The Hangover ain't art, but Phillips has shaped the hardcore hilarity into the summer party movie of all our twisted dreams. Reviewed by: Peter Travers of Rolling Stone.
A funny movie, flat out, all the way through. Its setup is funny. Every situation is funny. Most of the dialogue is funny almost line by line. Reviewed by: Roger Ebert of the Chicago Sun-Times.
So if you're looking for the next stop on the Shockingly Experimental Comedy train, don't get off here -- this ride is strictly for laughs. Reviewed by: Cammila Albertson of TV Guide.