The Hangover (2009) 720p YIFY Movie

The Hangover (2009)

A Las Vegas-set comedy centered around three groomsmen who lose their about-to-be-wed buddy during their drunken misadventures, then must retrace their steps in order to find him.

IMDB: 7.8238 Likes

  • Genre: Comedy |
  • Quality: 720p
  • Size: 652.12M
  • Resolution: 1280*536 / 23.976fps
  • Language: English
  • Run Time: 100
  • IMDB Rating: 7.8/10 
  • MPR: R
  • Peers/Seeds: 18 / 351

The Synopsis for The Hangover (2009) 720p

Angelenos Doug Billings and Tracy Garner are about to get married. Two days before the wedding, the four men in the wedding party - Doug, Doug's two best buddies Phil Wenneck and Stu Price, and Tracy's brother Alan Garner - hop into Tracy's father's beloved Mercedes convertible for a 24-hour stag party to Las Vegas. Phil, a married high school teacher, has the same maturity level as his students when he's with his pals. Stu, a dentist, is worried about everything, especially what his controlling girlfriend Melissa thinks. Because she disapproves of traditional male bonding rituals, Stu has to lie to her about the stag, he telling her that they are going on a wine tasting tour in the Napa Valley. Regardless, he intends on eventually marrying her, against the advice and wishes of his friends. And Alan seems to be unaware of what are considered the social graces of the western world...


The Director and Players for The Hangover (2009) 720p

[Director]Todd Phillips
[Role:Stu]Ed Helms
[Role:Doug]Justin Bartha
[Role:Phil]Bradley Cooper
[Role:Alan]Zach Galifianakis


The Reviews for The Hangover (2009) 720p


Heterosexuals in Sin CityReviewed byagmancusoVote: 7/10

Yes, okay, it's very funny at times down right hilarious. What sets this comedy apart from others of its ilk, is a well structured script and a pace that doesn't allow any form of thinking. The chemistry between the four leads is also a plus. There is a surprising, maybe unconscious, touch of innocence in the midst of this night of debauchery that makes it palatable even charming. Bradley Cooper is coming into his own and I'm absolutely certain that he was born to play Emperor Caligula in a future Ridley Scott flick. The women, as in most films about a bunch of heterosexuals doing childish things, are treated appallingly. They are the enemy that they have to protect themselves from or just escape, run, run as fast and as far as you can. Try to find the hooker with a heart of gold, and if she looks like Heathter Graham, that much better and forget about settling down. "The Hangover" has already become the surprise hit of the summer 2009. I say, well done, it could have been worse

Genuinely funnier than any comedy in recent memoryReviewed byMovieAddict2016Vote: 8/10

Most great comedies are based on fundamental truths -- we find a deal of humour in the illumination of our own human tragedy. Office Space is funny, for example, because we've all worked that type of job, put up with that type of boss, and suffered that type of monotonous everyday boredom.

Todd Phillips' new movie, The Hangover, is as aptly titled as anything else released this year: it's about a Vegas bachelor party gone horribly awry, in which the groom inexplicably disappears, no one can remember a damned thing, and Mike Tyson wants his tiger back.

Yes, we've all had those nights, though perhaps not to such extremes (that's where the exaggeration of comedy serves us). The Hangover is funny because it takes this cultural ritual -- an American tradition; something almost all of us can relate to -- and finds genuine humour in the pain of its aftermath.

I concede that bachelor party movies are not in short supply; the genre (if it is, indeed, a genre) should have probably both begun and ended with the Tom Hanks flick almost three decades ago. But The Hangover wisely studies the day after rather than the day itself; this is funnier because the plot works backwards, without tacky flashbacks, and much of the evening in question is left to our imagination.

While it would be misleading to claim this is a brilliant film (in either regard ? as comedy or character study), it's an assured picture that finds its footing immediately and achieves a surprising level of sustenance throughout its running time. And frankly, let's be honest, this is a breath of fresh air: it's one of the best R-rated comedies of the decade, and certainly the most uproarious since Superbad was released two years ago. Most R-rated comedies produced today are defiant; the R-rating has become a hindrance to film studios' sensibilities ? everything is PG-13, saving the shameless Unrated schpeel for the DVD cut. The occasional theatrically-released R-rated comedy, as such, is infrequently modest; the ads stress the rating to remind us what we've been missing. For every legitimate offer, such as Forgetting Sarah Marshall, we're treated to movies like College that attempt to lure us into theaters based on the promise of raunchy decadence. The problem is that it's all so coldly calculated; these films are not funny because a majority of the time they are simply lazy and dishonest.

The simplest reason for The Hangover's success in being genuinely funny is the fact that it achieves a rare balance of character and vulgarity. We laugh at the characters' misfortunes because we like them, we empathize with them, and they are distinctly actualized. Are they stereotypical? To a certain degree, sure: we have the repressed pussy-whipped guy who obeys his girlfriend's every command (Ed Helms); the weird John Belushi-esquire figure who speaks in non sequiturs and na?ve absurdities (Zach Galifianakis); and the womanizer whose confidence renders him automatic leader of the group (Bradley Cooper). It's a testament to the strengths of these actors that they make their characters endearing and believable, even in the face of total lunacy.

Helms has been an underrated highlight of the American Office for the past several years, never quite earning the praise he deserves. His character on the show is played with pitch-perfect perversity: he's not overtly creepy (like the program's other weirdo, Creed), but rather subtly unnerving. Helms invests a great deal of nuance into what is ostensibly a throwaway, supporting goofball; this movie, if nothing else, will justly reveal his talents.

Cooper uses his looks to his advantage: it's funny to watch handsome people exploit their securities. Cooper essentially turns your typical Leading Man figure into a bumbling idiot, self-absorbed and clueless. It's effective, he's got great chemistry with the other guys, and it's fun to watch such an immoral and ruthless character take center stage in a mainstream comedy.

Galifianakis, a cult comedian who I've admired for years, has been struggling quite a while. Not many people other than myself and Sean Penn saw his 2001 comedy Out Cold, probably because it wasn't all that great; but he was easily the most amusing aspect of the picture. He once described himself as being gifted by the opposite of the Midas touch, with more than a few canceled TV shows to his credit (including Comedy Central's unheralded Dog Bites Man), but it seems his persistence has finally paid off: he has discovered, at last, a movie of strong enough quality to reflect his talents. Galifianakis has a fair share of the film's funniest dialogue; as far as fat funny guys go, many of them (such as Chris Farley) made the ill-fated mistake of playing dumb in a sharp fashion: hurtful quips and silly one-liners, all self-aware. Galifianakis plays his character straight and the laughs are subsequently heartier; when he embraces his brother-in-law while nude, the act seems innocently awkward rather than deliberately awkward, and that's what makes it so funny. He's described in The Hangover, by another character, as a child with a beard. Imagine how funny it is when he names a Caucasian baby Carlos, without any shred of condescension or knowing humour.

The Hangover is surely destined to become the sleeper comedy hit of 2009, and, more likely, a cult flick in the years to come. It's more deserving of such acknowledgment than many recent successes, and while we may live in an era saturated with unnecessary sequels, I actually left The Hangover hoping to see these guys again. And that's a rare feeling these days.

Succeeds Where Old School FailsReviewed bymrhgibsVote: 10/10

After much anticipation, The Hangover has finally hit theaters. Todd Phillips returns raunchier than ever with a surprisingly consistent comedy loaded with bizarre situations ensued by lots of laughter. From a live tiger in the bathroom to an abandoned baby in the closet, this movie has everything. Seriously, everything (confirmed by the credit sequence).

Phillips does not shy away from his formula. The movie centers around four immature adults dumbfounded by the seemingly unexplainable result of a wild Vegas night catalyzed by the foursome's out of control bachelor party. Set the day before one of the principle character's wedding, the film is primarily seen through eyes of Doug (the groom-to-be), Alan (the lovable moron), Stu (the hopeless one), and Phil (the stud, and in many ways the leader of the pack). The director of Old School does not shy away from shock humor but embraces it, while gradually building confidence and self discovery within the characters.

Overall, the film triumphs through curiosity and chemistry. Just like the main characters, we are eager to find out what happens, or what DID happen. At the same time, the strong relationship developed by the characters makes the viewer realize how much he/she cares about what ultimately happens to them. Chemistry is the secret to a good comedy; it is about time somebody shows this understanding.

I don't want to reveal too much, but let me tell you this: everything does get explained in the end (except for the chicken aimlessly walking around in the hotel room, but I mean, it's a chicken). All of the actors succeeded in their roles admirably, and I wouldn't be surprised to see these guys in more lead roles. Ed Helms hasn't made me laugh this hard since The Daily Show. Seriously guys. Go watch this movie, you won't be disappointed.

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