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Jerry Lewis: Le Nutty Professor Takes Cannes

Richard Corliss — Fri, 24 May 2013 19:14:50 +0000

A half-century ago, French film critics proclaimed Jerry Lewis a master auteur for the raucous comedies he wrote, directed and starred in. At the time, it was hard to say which side took more derisive heat from mainstream America: Lewis or France. But time heals all wounds, or wounds all heels; and nostalgia is a narcotic stronger than contempt. So when the 87-year-old tummler arrived yesterday at the Cannes Film Festival to promote Max Rose, his first movie in 18 years, it was treated like a state visit from the King of Comedy — which happens to be the name of the Martin Scorsese picture that last brought Le Jer to Cannes 30 years ago. He had merited the warm welcome; his iconic career stretches back two-thirds of a century. At 20, in 1946, the goony kid with a farceur’s manic, iconoclastic energy teamed with Dean Martin and became smash duo in night clubs. Three years later Martin and Lewis conquered Hollywood in a string of 14 comedies; they also packed the crowds for theater performances, starred on a prime and primal TV variety show and sold million of records. When they split in 1956, Lewis starred in nearly a score of Paramount japes — The Bellboy, The Ladies Man and, above all, The Nutty Professor — the very films that secured his Pantheon status with the French. These moneymaking movies earned him little acclaim at home; and when the Motion Picture Academy finally gave him a life achievement citation, in 2009, it was for his charity work, not his filmmaking. Which had to gall him. (READ: An Oscar at Last for Jerry Lewis) And speaking of Gaul: The French do know how to pin medals on their champions. The government named Lewis a Chevalier in the Légion d’honneur in 1984 and a full-fledged Commandeur in 2006. Given François Hollande’s low approval rating these days, the voters may soon make Jer the first American President of France. Jer returned the favors at the press conference yesterday for Max Rose. When

Dead Tree Alert: The Westeros Wing; or, Why Game of Thrones is the Best Show About Politics

James Poniewozik — Fri, 24 May 2013 13:14:22 +0000

There’s no new Game of Thrones this Sunday; HBO is running the Liberace biopic Behind the Candelabra (and you can find Richard Corliss’ review of the movie from Cannes here). In the meantime, you can read my column in the print TIME magazine this week (subscription required) on why Game of Thrones is TV’s best current show about politics. One reason GoT is so bracingly different from other pop-culture fantasy stories is how it combines the fantastical with the realistic—in this case, realistic attention to the way power is gained, maintained, and exercised. Rather than fall into simple idealism or cheap cynicism, the show is bluntly practical: one big theme of the Ned Stark story in season one, for instance, is that Ned’s rigid morality and sense of integrity was both his great strength and the reason he finally failed. By season three, many of the show’s storylines, not just the ones in King’s Landing, are about politics and leadership. The clash between the libertarian attitudes of the Wildlings and the rigid social structure of the southerners. Dany’s journey through the East, which has been a series of lessons on how to earn, rather than simply command, a loyal following. The travails of the Night’s Watch, a nonaligned group meant to fend off a worldwide threat, which has been neglected through generations of political infighting and myopic leadership. The management of King’s Landing and its looming problem of foreign debt. The destabilizing forces of populism and religious fervor. And the non-military, non-magical sources of power, whether they be rich farmland or a useful intelligence network. In the column, I break down Game of Thrones’ story arcs and ideas into seven—of course—political lessons. The column is behind the paywall, so I can’t reprint it here, but I can list the bullet points, can’t I? Of course I can! Hope Isn’t Enough. Alliances Are Tricky. Loyalty Beats Fear. Don’t Skimp on Infrastructure. Religion Is a Tinderbox. Sovereign Debt Is a Killer. Watch Out for the 99%! I could have gone on, but

Actress Amanda Bynes Arrested in NYC on Marijuana Charge

AP / Colleen Long — Fri, 24 May 2013 10:01:14 +0000

(NEW YORK) – Actress Amanda Bynes appeared disheveled in a long blond wig and sweats Friday in a criminal court where she was charged with reckless endangerment after police said she heaved a marijuana bong out of her Manhattan apartment building. The 27-year-old former child star was arrested Thursday evening, after building officials at her midtown apartment called police to complain she was rolling a joint and smoking pot in the lobby. The officers went to her apartment on the 36th floor where they said they saw heavy smoke and a bong sitting on the kitchen counter. They said she tossed the bong out the window in front of them, prosecutors said. She then said to police: “It was just a vase,” according to Manhattan assistant district attorney Chikaelo Ibeabuchi. “My client completely denies illegally throwing anything out of her window,” said Andrew Friedman, her attorney for the arraignment. The judge released her on her own recognizance and gave her a July 9 court date. Thursday, Bynes was held overnight at a police precinct. She pulled up to court Friday morning in a squad car where she was greeted by a crush of media. She was also charged with attempted tampering with evidence and unlawful possession of marijuana, all misdemeanors. “I’m asking you I don’t want any pictures,” she said to a photographer. “I don’t want any photos. No press are allowed in here,” she announced to the public courtroom. Bynes rose to fame starring in Nickelodeon’s “All That” and has also starred in several films, including 2010′s “Easy A.” But she has been in the news more recently because of several scrapes with the law and bizarre public behavior. Her lawyer said she had no record in New York, but the judge noted she had several out-of-state cases. In California in December, the former “Hairspray” star resolved a misdemeanor hit-and-run case after entering into a civil settlement with other drivers. Also in California, she was charged last fall with driving on a suspended license after it was temporarily taken away

Writing Wrongs: 10 Movie Titles with Bad Grammar

TIME Staff — Fri, 24 May 2013 09:45:21 +0000

For all the considerable resources that go into marketing Hollywood movies, it would seem that scant attention is paid to checking the grammar and punctuation of film titles. Case in point, the new Star Trek, whose title omits a punctuation mark that not-so-subtly changes the meaning of the words. TIME copy chief Danial Adkison and copy editor Douglas Watson offer their professional judgment on some other suspect movie titles. Paramount Pictures Star Trek Into Darkness “The movie in which a celebrity goes on a long hike in the middle of the night.” Suggested fix: A colon Star Trek: Into Darkness Buena Vista Pictures Distribution Who Framed Roger Rabbit “Is it really O.K. to ask a question and not put a question mark at the end.” Suggested fix: A question mark Who Framed Roger Rabbit? Overture Films Law Abiding Citizen “Some citizens the law can abide; others it cannot stand.” Suggested fix: A hyphen Law-Abiding Citizen Buena Vista Pictures Distribution Honey, I Shrunk the Kids “This is not the movie you thunk it was.” Suggested fix: Remember past participles? Honey, I’ve Shrunk the Kids Warner Bros. Two Weeks Notice “Two weeks notice what? Can a week (or two) really notice anything?” Suggested fix: An apostrophe Two Weeks’ Notice Universal Pictures The 40 Year-Old Virgin “At first glance an “s” appears to be missing: The 40 Year-Old Virgins. But that can’t be. Who would make a movie about 1-year-olds? And in what kind of world would it need to be specified that these 1-year-olds are virgins?!” Suggested fix: A hyphen The 40-Year-Old Virgin Paramount Pictures The Ladies Man “The apostrophe is needed to make clear that although this man may think he possesses the ladies, in fact they possess him.” Suggested fix: An apostrophe The Ladies’ Man Hollywood Pictures An Alan Smithee Film Burn Hollywood Burn “Sometimes it really helps to use punctuation otherwise no one can tell where one thought ends and the next one begins it’s such a nice day today I think I’ll go read a modernist novel or something oh look there goes a

Eurovision Is the World’s Greatest Music Contest

Graeme McMillan — Fri, 24 May 2013 04:10:53 +0000

Through happenstance, family celebration, and international air travel, I found myself in the United Kingdom this past week. Meaning that I could watch, for the first time in more than a decade, the Eurovision Song Contest and luxuriate in the spectacle of a multinational community trying to bridge cultural and political differences through a lot of bad and gaudy pop-music. For those who aren’t familiar with Eurovision—I suspect that almost everyone reading this in the U.S. falls into that camp—I offer this quick explanation. The Eurovision Song Contest is an annual international competition—first held in 1956 and broadcast live on TV—in which the public chooses its favorite musical acts from among 20 or so put forward by participating countries, all performing songs written especially for the competition. It’s like The Voice or American Idol, but on a far larger scale—and much weirder. It’s that weirdness that makes Eurovision an utterly charming, if occasionally bewildering, event. The songs and performances range from the staggeringly banal (each year has at least one slow ballad with lyrics seemingly translated from Dutch to Estonian to Swedish to English) to the jaw-droppingly elaborate and theatrical, with the guilty parties engaged in desperate and shameless attempt to cover their musical deficiencies. This year, the performer who following that latter route was Cezar Ouatu, a Romanian, who sang a song called “It’s My Life.” It wasn’t so much that the song’s lyrics were breathtakingly generic (“Love is so deep/And it makes my life complete/Like a mountain in the sky/Love is high, so high,” one verse went), as much as it was his jaw-dropping performance: operatic vocals delivered with a manic intensity, a costume straight out of a low-budget ’50s sci-fi movie, and staging that put dancers where you’d least expect them. I share that video, not to be the object of derision, but as an attempt to demonstrate the strange wonder that this hugely popular show offers each and every year. It’s performances like Cezar’s—ones that should be terrible, but are almost awe-inspiring in some indescribable way—that make

Before Midnight: Very True Romance

Mary Pols — Thu, 23 May 2013 20:06:53 +0000

Director Richard Linklater’s first two Before movies represented the types of romantic scenarios you dream of when you’re young—meeting the right person at an unexpected-but-perfect time and falling in love (Before Sunrise, 1995) and then encountering them again nine years later (Before Sunset, 2004), only to find that everything you felt before was not just genuine but was still alive; a fire that somehow burned through nine years of nights, stoked only by memories. The third movie in Linklater’s series, the less joyous but even more incisive Before Midnight, exposes the underbelly of romance and not just the kind of idealized pairing that involves walks through the moonlight in Vienna and sunsets in Paris, but something more universal. It’s the counterpoint of reality to those earlier cinematic dreams. Picking up nearly a decade after the teasingly ambitious end of Sunset, Midnight takes on the resentments, both deep and unavoidable as well as petty and pointless, of a long relationship and focuses on the work of being together. We always knew Jesse (Ethan Hawke) and Celine (Julie Delpy) were capable of fighting because they were both full of such fierce convictions, but this is the film where flirtatious sparring turns into a verbal battle. Before Midnight is too frank and funny to ever be a drag, but it confronts head on something true believers in the earlier films has had to or will have to face, the possibility that even the most exciting love affair grows tired. (READ: Steve Snyder’s Q&A with Ethan Hawke) Each of these movies can stand alone and has—no one knew what the Before series could become, back in 1994 when Linklater grabbed a screenplay, a camera, the 23 year-old Delpy, French and not yet much known in America; and Hawke, a rising American star; and started shooting—but as a whole, they represent a powerful and unique portrait of contemporary love and life, this generation’s answer to Francois Truffaut’s Antoine Doinel series. In this era of sequels and stories broken into fragments to make more money (and not just trash like

Nebraska: Alexander Payne’s America, Plains and Simple

Richard Corliss — Thu, 23 May 2013 19:09:59 +0000

Europeans created America by landing on the East Coast and moving West, in the process confecting the nation’s near-Biblical legend of Manifest Destiny. (Sorry, Indians.) That hope (or illusion) nourished our indigenous art forms: the picaresque novel and its cinematic equivalent, the road movie. The directors of the Cannes Film Festival must also be smitten with the genre. Last year they invited three films about young people traveling toward some tantalizing other place: Moonrise Kingdom, Cosmopolis and the movie version of Jack Kerouac’s On the Road. The same wanderlust is examined in a trio of American films here this year. The Coen brothers’ Inside Llewyn Davis focused on a young urban folk singer hoping to get a big gig in Chicago. In James Franco’s adaptation of the William Faulkner novel As I Lay Dying, the patriarch of a backwoods Mississippi brood insists that they haul his late wife’s corpse to another town for burial. This evening we get Alexander Payne’s Nebraska, the new film from the director of Election, Sideways and The Descendants. A minor work with some incidental pleasures, Nebraska plays a more comic but no less acerbic variation on Faulkner’s theme of obsessive fathers, family members bound and imprisoned by blood, and the millions of also-rans seduced by the American Dream. (READ: The Cannes reviews of Inside Llewyn Davis and As I Lay Dying) In Bob Nelson’s original screenplay, old Woody Grant (Bruce Dern), sinking into senility, is convinced that a million dollars awaits him in a magazine-subscription promotion, if only he can get from his Billings, Montana home to the sweepstakes company’s headquarters in Lincoln, Nebraska. Driving him there, with a few nostalgic stops, is his dutiful son David (Will Forte), soon joined by his brother Ross (Bob Odenkirk) and their mother Kate (June Squibb). On the way, father and son stop in their former hometown of Hawthorne, where Woody tells his old friends of his imminent good fortune. That cues a greed spree of locals eager to collect their share of the loot — a miniature, chimerical

TV Tonight: Does Someone Have to Go?

James Poniewozik — Thu, 23 May 2013 18:37:52 +0000

The premise for an awful reality show and the premise for an excellent reality show are one and the same. A strong reality premise—strand people on an island, race around the world—is what gets your attention. But what makes it mean-spirited or good-hearted, excruciating or delightful, sleazy or gratifying, is the execution. Protestors drove ABC’s Welcome to the Neighborhood off the air in 2005 before it ever debuted, because of the premise (seven couples, including minorities, competed to win a house and were judged by their future neighbors); later, after actually seeing all the episodes, gay-rights-advocacy group GLAAD endorsed it. Spike TV’s The Joe Schmo Show–which surrounded a “contestant” with actors–could have been a cruel joke; it turned out to be a pitch-perfect and good-natured parody. All of this is to say that, despite its premise, I went into Does Someone Have to Go?—Fox’s new reality show in which coworkers select some of their number for possible firing—assuming that it might not be as bad as you would think. As it turns out, Does Someone Have to Go? is exactly bad as you would think. Now admittedly, the title itself was a pretty good hint that this show was not going to take the high road when it came to conflict resolution in the workplace. The series visits a string of troubled workplaces, promising to “give employees a voice” in solving the office’s problems—by confronting one another, blaming one another for the dysfunction, and voting for three candidates for possible elimination. You could probably make a good reality show about visiting a workplace, identifying what and who isn’t working, and forcing some sort of crisis to make clear what the group needs to do better: that’s essentially what, say, Kitchen Nightmares or Restaurant: Impossible does in the food-service business. Those shows can be overdramatic or manipulated, but when they work—see, for instance, the absolutely bananas “Amy’s Baking Company” episode of Kitchen Nightmares–they can be revealing snapshots of how a bad workplace gets that way, and how individual neurosis becomes everyone’s

Joel Stein Talks with the Director and Stars of Before Midnight

Joel Stein — Thu, 23 May 2013 18:29:15 +0000

I sat down with director Richard Linklater and actors Julie Delpy and Ethan Hawke to talk about their new movie, Before Midnight, which follows their two characters from Before Sunrise (1995) and Before Sunset (2004). The three also co-wrote Midnight and Sunset. For a very thoughtful, touching essay on the film that ran in the magazine (and is accessible to subscribers), click here. TIME: In the first film, Before Sunrise, there’s a moment when they first kiss… JULIE DELPY: Tongue, tonsil, tongue, tonsil… RICHARD LINKLATER: That was my direction: tongue, tonsil, tongue, tonsil ETHAN HAWKE: It was one of my worst experiences on a film set. It’s sunset on that beautiful Ferris wheel and we’re supposed to be having this beatific experience. We do this kiss scene, and as soon as Rick goes “Cut,” Julie’s like, “Ewww! He kisses like an adolescent!” That’s a line in the movie. HAWKE: We work everything in, buddy. That’s a particularly painful thing to work in. HAWKE: It’s not interesting if it’s not painful. LINKLATER: Ethan is brave that way. At the beginning of Before Midnight, I made an audible gasp when we find out that Jesse and Celine are still together. After I saw the movie, I was like, “Of course they are; how would they make a movie otherwise?” But was there a discussion about it? HAWKE: I think the gasp is—it’s two films of wanting these people to be together and they’re not together. It’s weird that Before Sunset is this incredibly romantic film—people cite it as a romantic film—and we never kiss. Who makes a romance where the two characters never even kiss? LINKLATER: As soon as Before Sunset fades out, the audience gets to fill in. They can go to town with what happens next. That was a good place for us to stop. HAWKE: A good place for the third one to begin was with the ramifications. When you follow your passion, there are consequences. And the consequences are Hank, Jesse’s son—he’s the one who suffers from Jesse

Today’s Movie Trailers: We’re the Millers and Don Jon Show Some Skin

Lily Rothman — Thu, 23 May 2013 15:19:48 +0000

Ever imagine Jennifer Aniston playing a stripper? Or Jason Sudeikis and Ed Helms as drug dealers? Then this new trailer for the upcoming comedy We’re the Millers is for you: Sudeikis plays a pot merchant contracted by Helms to smuggle a shipment from Mexico; Aniston plays his neighbor, a stripper, whom he asks to pretend to be his wife while they pose as a family on vacation. Emma Roberts and relative newcomer Will Poulter play the teens they recruit to play their kids. We’re the Millers will be in theaters Aug. 9. (MORE: Joseph Gordon-Levitt Is Going to Have His Own Variety Show) Another newly released trailer that keeps it racy is Joseph Gordon-Levitt’s feature directing/writing debut, Don Jon (previously titled Don Jon’s Addiction). The movie, which sold at Sundance, stars Gordon-Levitt as a guy content to live a life focused on working out, going to church, having dinner with his family, keeping his apartment and car clean, picking up babes and watching porn—until he meets girl-with-a-secret Scarlett Johansson. Julianne Moore and Tony Danza also star. Don Jon is out Oct. 18.

Why Reality TV Is the New Family TV

James Poniewozik — Thu, 23 May 2013 13:12:30 +0000

Thirteen summers ago, when a pair of shows called Survivor and Big Brother debuted on CBS, there were uneasy cries that reality TV was coarsening our civilization. Contestants were encouraged to lie and backstab one another! People were eating actual rats! What was going to be next: snuff films? Thirteen years later, you can debate how well reality TV, overall, has fulfilled its promise as a hell-bound handbasket. But I do know this: when the regular TV season ended last week and the summer premiere season started, it was an exciting time at home, because it meant Masterchef was coming back, and we could watch it together with the Tuned In Jrs. Reality TV is a big, diverse medium, of course: some of it is raunchy, some of it ugly, some obnoxious (like tonight’s despicable let’s-fire-someone-fest Does Someone Have to Go? on Fox), and some of it very, very good. In other words, it’s not unlike scripted TV. But another funny thing has happened over the past generation: reality TV has also become the new version, and maybe the last bastion, of primetime family viewing. It’s not just Masterchef: nearly every TV series my wife and I watch with the Tuned In Jrs. is a reality show. We handicap The Voice contestants’ odds every week. The Amazing Race has given us a whole new perspective on airport travel. Shark Tank captivates the kids, and has shown me—one of the least entrepreneurial people I know—what a fascinating process valuing a business is. Top Chef, Chopped, Market Warriors—if it involves cooking or selling something, we’ll watch it. Other families I know, anecdotally, are into Storage Wars or Duck Dynasty (the latter, I guess, much like families in the ’60s were into The Beverly Hillbillies). Most of these are competition reality shows, which is no accident: like sports, reality shows like these are a genre of TV that can appeal to kids’ and adult interests without denying either one. Most of these series are made for adults, often without any particular goal of

The National Breathes Confidence on Trouble Will Find Me

Megan Ritt — Thu, 23 May 2013 11:00:22 +0000

This post is in partnership with Consequence of Sound, an online music publication devoted to the ever growing and always thriving worldwide music scene. Confidence. Comfort in one’s own skin. It’s the difference between trying too hard and coming off as a fraud or following your own heart and rising to the top. Many a band waffles after success, making, instead, what they think the audience wants to hear. But with Trouble Will Find Me, The National’s sixth full-length studio album outlines the confidence to expand and experiment with the formula, paired with the skills to do it justice. That confidence is present from the opening salvo, where The National sets the tone and pace for the record. This consistency is a particular skill of theirs; after all, where would Alligator begin outside of “Secret Meeting,” The Boxer without “Fake Empire,” or High Violet sans “Terrible Love”? At this point, it’s an established tenet for any National album to make a proper introduction before any listener is free to roam in its ensuing universe. (MORE: A Conversation with Daft Punk) “I Should Live In Salt,” then, establishes Trouble as a comparatively upbeat place. Over balmy chords and a touch of campfire tambourine, Matt Berninger pines for redemption as he intones, “I should live in salt for leaving you behind.” Lyrically, it’s another somber affair from the bearded singer, but what’s key to note is the mood that’s conveyed through its rousing instrumentation. The angelic harmonies and those sky-searching guitar lines keep the head up, rather than staring down towards the cracked earth in disappointment. With these sensibilities in play, The National embark on a meditative journey that doesn’t necessarily eschew a sunny day. But that’s not to say that the album is without its darker moments — we’re still talking about the National, after all. Shortly after, “Demons” haunts behind its uptempo synth backbeat, to which Berninger bemoans his own pessimism: “I wish that I could rise above it / But I stay down with my demons.” The usual lyrical themes of disappointing relationships, lowered expectations, and heartbreak are prevalent here, epitomized in the smooth

All Is Lost: Robert Redford Is Our Man

Mary Corliss — Thu, 23 May 2013 10:30:57 +0000

A man sails the Indian Ocean alone on his 37-foot yacht, 1700 nautical miles from the Sumatra Straits. He is awoken one morning by a crash: a metal container off a cargo ship has struck his boat, perforating and flooding it, disabling all communication. The man fights resourcefully to repair the damage and battle the elements: blistering sun, a violent storm. After eight debilitating days, with only a half-day’s worth of rations left and virtually no hope for rescue, it seems that all is lost. J.C. Chandor’s All Is Lost strips the conventional action movie to its essentials. One confined setting. Virtually no dialogue. And a man with only the sailing skills and self-determination to make a go of survival. His boat is called the Virginia Jean, but he is the man with no name, no knowable past, no loved ones nor enemies back home to give his quest familiar emotional moorings. In a way, Chandor set himself and his audience the same restrictions as his protagonist. They would discover who the man is by what he can do. And by who plays him: Robert Redford. (READ: Mary Corliss on Robert Redford’s The Company You Keep) All Is Lost, which had its world premiere at Cannes before opening in U.S. theaters this October, stocks its 105 minutes with enough seafaring challenges and adventure to keep mainstream audiences fascinated, fraught and rooting for the person identified in the closing credits as “Our Man.” Yet it is also an arguably unique exercise in storytelling: both a work of cinematic innovation and a thrilling demonstration of the ancient maxim that action is character. Other films about a man alone on the water look positively profligate by comparison. Spencer Tracy played a Cuban fisherman in the 1958 The Old Man and the Sea, but he was on land with others at the beginning and the end. In 1963, Japanese director Kon Ichikawa retold the true story of a man who sailed from Osaka to San Francisco in Alone on the Pacific; there, flashbacks provided clues

Summer Music Festival Preview 2013

Melissa Locker — Thu, 23 May 2013 09:45:00 +0000

The Hangover Part III: The Third Time’s the Harm

Mary Pols — Wed, 22 May 2013 23:43:08 +0000

Todd Phillips’ deliberately offensive films have always courted controversy, but The Hangover Part III marks a tonal shift for his successful franchise. The movie is so aggressively nasty and barely funny that it feels as though Phillips is trying to cull his own Wolfpack down to only the most hardcore fans. The tagline on The Hangover Part III’s posters is “The end,” and there may be some wish fulfillment implied. The Hangover Part III gives off such a stench of creative decay that it hardly seems possible that even Phillips or his co-writers have any use for the movie themselves. If a movie can be self-loathing and self-destructive, it’s this one. Even the impetus behind the journey, which does include a trip back to Las Vegas, the scene of the wickedly fun original, is bleak. Instead of a rollicking bachelor party enhanced by drugs, there’s a funeral, followed by an intervention. Alan (Zach Galifianakis) has been off his meds for six months when the movie begins. He is enticed to enter a treatment facility in Arizona by a promise that Phil (Bradley Cooper) and the rest of the Wolfpack — Stu (Ed Helms) and the guy who always gets left behind, Alan’s brother-in-law Doug (Justin Bartha) — will drive him there. Of course, the trip to Arizona is derailed — and the purpose of it completely forgotten — by an encounter with a drug-lord-type named Marshall (John Goodman) and his henchmen, including “Black Doug” from the first film. Marshall demands the guys find and bring him Mr. Chow (Ken Jeong), who double-crossed him around the time of the first Hangover. (MORE: Proof That Our Reviewer Took Some Pleasure in The Hangover Franchise in the Past) Alan’s specific mental-health issue has remained vague throughout the series, but whatever it is, it leads to some spectacularly dunderheaded and mean behavior. In his first scene in The Hangover Part III, Alan drives down the freeway pulling a wagon with a giraffe upright in it. It’s his new pet. The giraffe is obviously almost entirely computer-generated but still looks smart,