Tagline: Some guys just can’t handle Vegas.
The Hangover opens with Phil (Bradley Cooper) on the phone in the middle of the desert. He is calling the fiancee of his best friend Doug (Justin Bartha) and tells her that they messed up. “We lost Doug.” The fiancée, Tracy Garner (Sasha Barrese), freaks out because she and Doug are supposed to get married in 5 hours. “That’s not going to happen.”
Two days earlier, Doug and his soon-to-be brother-in-law Alan (Zach Galifianakis) are trying on tuxedos. Alan says it’s OK if Doug doesn’t bring him to the bachelor party tonight. Alan is severely socially inept but Doug makes it clear that he wants Alan to be there with him. Since they are going to be brothers soon, they have to look out for each other.
Doug goes to talk to his future father-in-law, Sid Garner (Jeffery Tambor), and is given permission to take his Mercedes to Vegas for the bachelor party since Sid remembers what it was like to be a young man. Doug thanks him and promises that he will be the only one to drive the car that day. Doug and Alan then leave to pick up the others.
Doug’s best friend Phil is a high school teacher reminding one of his classes to pay 90 dollars for a field trip to an observatory, which they all promptly pay. Phil then removes the $3500 from their envelopes and puts them into an envelope marked Vegas. He grabs his bag, ignores a student and jumps into the Mercedes. The group then goes to get their last member.
The Hangover is a 2009 American comedy film directed by Todd Phillips, co-produced with Daniel Goldberg, and written by Jon Lucas and Scott Moore. It is the first installment in The Hangover trilogy. The film stars Bradley Cooper, Ed Helms, Zach Galifianakis, Heather Graham, Justin Bartha, and Jeffrey Tambor. It tells the story of Phil Wenneck, Stu Price, Alan Garner, and Doug Billings, who travel to Las Vegas for a bachelor party to celebrate Doug’s impending marriage. However, Phil, Stu, and Alan wake up with Doug missing and no memory of the previous night’s events, and must find the groom before the wedding can take place.
The Hangover was released on June 5, 2009, and was a critical and commercial success. The film became the tenth-highest-grossing film of 2009, with a worldwide gross of over $467 million. The film won the Golden Globe Award for Best Motion Picture – Musical or Comedy, and received multiple other accolades. It is the tenth-highest-grossing worldwide film of 2009, as well as the second-highest-grossing R-rated comedy ever in the United States, surpassing a record previously held by Beverly Hills Cop for almost 25 years.[4] It is the sixth-highest-grossing R-rated film in the U.S., behind The Passion of the Christ, The Matrix Reloaded, American Sniper, It, and Deadpool.
About the Story
Celebrating his upcoming marriage to Tracy Garner (Sasha Barrese), Doug Billings (Justin Bartha) travels with his best friends Phil Wenneck (Bradley Cooper), Stu Price (Ed Helms), and Tracy’s brother and Doug’s future brother-in-law Alan (Zach Galifianakis) to Las Vegas in Alan’s father’s Mercedes-Benz for a bachelor party, staying at Caesars Palace, where they relax in the room and go to a casino and celebrate with a few drinks on the hotel rooftop. The next morning,
Phil, Stu and Alan awaken to find they have no memory of the previous night, and Doug is nowhere to be found. Stu is missing a tooth, their hotel suite is in disarray, a tiger is in their bathroom, a chicken in their living room, and a baby is in the closet, whom they name “Carlos”. They find Doug’s mattress impaled on a statue outside of their hotel and when they ask for their Mercedes, the valet delivers an LVPD police cruiser.
Following clues to their steps, the trio travel to a hospital where they discover they were drugged with rohypnol (“roofies”), causing their memory loss, and that they came to the hospital from a chapel. At the chapel, they learn that Stu married a stripper, Jade (Heather Graham), despite having a long-term relationship with his mean-spirited girlfriend, Melissa (Rachael Harris). Outside the chapel, the trio are attacked by gangsters, saying they are looking for someone.
They flee and visit Jade, discovering that she is the mother of the baby, whose real name is Tyler, before being arrested by the police for stealing the police cruiser. Having been told that the Mercedes has been impounded, the trio is released when they unknowingly volunteer to be targets for a taser demonstration. While driving the Mercedes, they discover a naked Chinese man in the trunk who attacks them and flees. Alan confesses that he drugged their drinks to ensure they had a good night, thinking the drug to be ecstasy.
Returning to their villa, they find Mike Tyson, who orders the trio to return the tiger to his mansion immediately. Stu drugs the tiger with the remaining rohypnol, and they drive towards Tyson’s home in the Mercedes. However, the tiger awakens and attacks them, clawing Phil on the neck and damaging the car’s interior. After pushing the car the rest of the way to the mansion, Tyson shows the trio footage of them at Tyson’s house to help them locate Doug. While driving, their car is intentionally t-boned by another vehicle.
The passengers of the offending car are revealed to be the gangsters from the chapel, and their boss Leslie Chow (Ken Jeong) – the naked man from their trunk – accuses the trio of both kidnapping him and stealing $80,000 of his money that was in his purse. As the trio tries to deny this, Chow says he has their friend, threatening to kill the friend if Chow’s money is not returned. Unaware of the location of Chow’s $80,000, Alan, with help from Stu and Jade, uses his knowledge of card counting to win $82,400 playing Blackjack.
They meet with Chow and exchange the money, only to find that “Doug” is an African-American drug dealer (nicknamed “Black Doug” by the trio), who inadvertently sold Alan the roofies. With the wedding set to occur in 5 hours, Phil calls Tracy and tells her that they cannot find Doug. After a conversation with “Black Doug” (Mike Epps), Stu realizes where Doug is. The trio travels back to their hotel where they find Doug on the roof. Stu, Phil, and Alan had moved him there on his mattress the night before as a practical joke, but promptly forgot where they left him.
Doug’s mattress had been thrown onto the statue by Doug himself, in an attempt to signal for help. Before leaving, Stu makes arrangements to go on a date with Jade the following week. With less than four hours before the wedding and with no flights to L.A. available, the foursome races home, wherein Doug reveals he has possession of Chow’s original $80,000. Despite their late arrival, Doug and Tracy are married, and Stu angrily breaks up with Melissa after having grown tired of her controlling his life. As the reception ends, Alan finds Stu’s digital camera detailing the events they cannot remember, and the four agree to look at the pictures together before deleting the evidence of their exploits.
About the Production
The bachelor party is a time-honored tradition. Every weekend across the country, countless men on the brink of their wedding dates are taken out by a select few of their best buddies for a symbolic last hurrah. “Just a few friends getting together,” says director Todd Phillips casually, as if to downplay the possibility that anything crazy, dangerous or illegal could ever erupt from such an innocent premise.
“It’s such a typical thing to do, they don’t even want to call it a bachelor party because they see it more as a guys’ night out,” he adds. “A nice dinner, some laughs, and a toast to the new groom.” You know, “Harmless.”
Granted, this night out is awfully close to the day of Doug’s actual ceremony… And yes, his future father-in-law has entrusted him with his prized Mercedes… And sure, Stu has to lie to his girlfriend about where they’re going… And yes, they’re taking along Doug’s new brother-in-law Alan, who’s socially awkward and somewhat of a loose cannon…
But other than that, what do they have to worry about? When the foursome checks in to Caesars Palace they’re feeling good and relaxed. Stepping out onto Caesars’ rooftop to start their evening with a toast amidst the wraparound glow of Vegas lights under the desert sky, they raise their glasses to Doug’s upcoming new life and “to a night the four of us will never forget.” And that’s the last thing any of them can remember.
The next thing that Phil, Stu and Alan know it’s morning and they’re sprawled out with their faces on the marble floor. Sunshine streams in through the windows, revealing a palatial suite that is totally trashed.
But that’s not so unusual, as bachelor parties go, Phillips grants. “Getting drunk and waking up next to a pile of empty bottles is pretty much par for the course. For a movie about a hangover to end all hangovers, we had to take things a gigantic step beyond. We thought, ‘What would be the craziest night you could possibly have and still live to talk about it.’”
“How about, there’s a baby in their room, that they’ve never seen before, and a tiger in the bathroom?,” adds producer Dan Goldberg, who marks his fourth feature collaboration with Phillips on “The Hangover,” following “Road Trip,” “Old School” and “School for Scoundrels.”
Party dolls bob atop the Jacuzzi bubbles, a chair still smolders from what appears to have been a fire and an ottoman dangles from the ceiling. Oh, and one more little thing… the groom is missing.
As the three revelers struggle to regain consciousness, each reacts to the scene in his own way. Leader-of-the-pack Phil surveys the damage with a confident but blurry eye, assumes they had a good time and that Doug will turn up soon. Stu, the worrier, and the one whose credit card is on file with the front desk, launches into a panic that escalates with each new offense he uncovers in the wreckage of their $4,000-a-night suite. And Alan kind of takes it all in with a crazy sense of wonder—that is, once he gets over the fact that he was just standing, half naked, within pouncing distance of a real, live, full-grown tiger.
Bradley Cooper stars as Phil, “the guy with the plan, the fast-talker,” says Goldberg. The only one of the group who has experienced marriage and fatherhood, Phil feels a bit restricted by his life as a family man and high school English teacher and was looking forward to this trip as a rare opportunity to cut loose with his old college gang. He’s not about to let this little setback ruin his weekend.
“Phil thinks, ‘Let’s just get some aspirin and take this one step at a time. No need to panic,’” says Cooper. “No matter how uncontrollable the situation becomes, he keeps thinking he can manage it. And he keeps trying, right up to the point where it absolutely gets away from him.”
“Bradley is very funny, both on and off the screen, but I think of him more as a leading man, and in this story he takes on the role of the de facto leader. He’s the one who emerges from this morning-after mess and tries to get the other two to focus so they can figure out what happened,” says Phillips.
Meanwhile, Stu, the sweet but tightly wound dentist with the crushing sense of responsibility and a girlfriend back home who keeps him on a short leash, is far from calm. The only thing that finally takes his mind off the fear of his precious Melissa finding the credit card receipts for this catastrophe is his discovery that, somehow, he has managed to lose a tooth. A first bicuspid, to be exact—right up front, where there is now a gaping bloody space that he cannot begin to explain.
“I was flattered the filmmakers liked me for the part, but at the same time slightly offended, because Stu is kind of a dork, an anal-retentive nervous Nellie character,” jokes Ed Helms, who stars as Stu, and who commuted to the Las Vegas set from L.A. to accommodate his shooting schedule for “The Office.” “If you break them down to archetypes, Phil would be the cool guy, Alan would be the weirdo and Stu would be the nerd. I have to wonder what it is about me that made them think of me for that particular role…”
Perhaps it’s because, Phillips attests, “Ed kills as a hen-pecked, pent-up guy who is long overdue for a complete meltdown.” Of the three, Alan, played by Zach Galifianakis, is the one whose temperament is probably best suited to their current situation, but that’s not to say he has any answers either. As Stu carries on about his lost tooth and presumably ruined life, and Phil tries to channel their attention with talk of breakfast and a game plan, Alan, draped in a sheetsarong, casually picks through the trash with childlike curiosity and a certain amount of pride, between bites of a pizza he peeled off a sofa cushion.
As if things could get any worse, Alan’s ambling recon soon uncovers an apparently happy, healthy and completely unidentifiable baby, stashed in a corner. A fan of Galifianakis’ inventive stand-up comedy, Phillips knew he would shine in a part crafted to his unique style and creativity, and so cast him as Alan, “a guy with two left feet who always makes the wrong decision.”
“Alan is a little bit off. He has no friends and no idea that people think he’s weird, because he believes everything he does and says is completely cool and appropriate,” explains Galifianakis, who goes on to describe his character as “someone who probably took too many barbiturates at too many raves. The good thing about this role is that it doesn’t have to make a lot of sense. Generally, an actor is aware of things like motive and consistency for his character, but Alan functions on his own perverse logic.”
“Stuff will come out of his mouth and you don’t know where it’s coming from,” Goldberg affirms. “It can be completely non-referential, but hilarious. Alan is a true outsider but he clearly wants to be friends with these guys, and he does manage to endear himself in his own strange way through this disaster they all go through together.” What these three really need, in more ways than one, is Doug.
Starring as the mysteriously missing husband-to-be, Justin Bartha says, “Doug is the voice of reason in the group. I wanted to make him the guy who tied the other personalities together. He’s the common denominator and when he’s lost, all hell breaks loose.”
Though necessarily absent from a portion of the proceedings, “Doug is vital to the story. He’s the glue that holds these guys together and when he goes missing they suddenly seem less like friends and more like a three-way odd couple,” observes Jon Lucas, who, with partner Scott Moore, wrote “The Hangover” screenplay. “He becomes the Holy Grail—that one thing the heroes desperately need to find and that we desperately want them to find.”
“Luckily,” says Moore, “they care enough about him that they’re willing to endure everything that comes next, and they stick together to find him no matter how much they might piss each other off.”
Phillips concurs. “The best humor comes from the heart. You need to believe that these guys are really concerned about each other and have a genuine connection, and that elevates things beyond just the telling of jokes. It’s about exploring the natural humor and awkwardness of male friendships and the kind of things that bond them.
“Comedy is 70% casting,” he continues. “Certainly, you need a great story, but beyond that it’s about pacing, putting great comic actors into a situation and letting them respond to it and to each other. The script was a blueprint for Bradley, Ed and Zach, and they took it and ran with it. The same was true for each of the actors we cast in supporting roles. When you populate a film with genuinely funny people it helps to keep that momentum going.”
OK, then; they’re on their own and Doug needs them. What can Phil, Stu and Alan do to piece together the events of a night they cannot remember? It’s time to empty their pockets and search for clues: receipts, ATM slips, valet tickets, those little plastic bracelets you get at the hospital…
The film’s forward-in-reverse structure especially appealed to Phillips as a storyteller. “Starting from that morning, these three have to put their heads together and pursue one potential lead after another that will take them back through every twist and turn and screw-up of the night before and, hopefully, get them to the place where they last saw Doug. And the audience gets to take that ride along with them. You pick up the pieces when they do. In some ways it’s like a classic detective story,” the director offers. Except, as Goldberg points out, “These detectives have pounding headaches.” “The beginning of the story lures you in one direction and then completely stops and swings another way,” says Cooper.
“You never know what’s coming,” adds Helms. “Everything is out of left field, every single scene is, like, whoa, where did that come from? But it all fits together. It’s not just a lot of disconnected set pieces; every big action or crazy scene moves the story forward and cranks it into overdrive until it all gets justified at the end.” Also, he notes, “It gives Zach Galifianakis the opportunity to appear in a jock strap.”
Galifianakis himself is still questioning whether or not that’s a good thing. “When you’re in a movie and you’re wearing a jock, you know you’ve made it,” he responds. “I told Todd, ‘We’ve seen chubby guys in tightie-whities on screen before; what about taking it to the next level?’ Of course, he agreed. I can’t believe I mentioned it. So now I’m in a jockstrap and my poor mother…. Sorry, Mom.”
The trail of clues our hungover heroes unearth will lead them through some of the city’s lesser-known “hot” spots, namely: the ER, the Metro Police Station and a wedding chapel somewhere off-off-off The Strip. Clearly, these were not the places the Las Vegas tourism board had in mind when they introduced the slogan “What happens in Vegas…” Among the principal players in this unraveling tour of shame is Heather Graham, starring as Jade. Graham describes her character as “a stripper/escort with a sweet disposition and a relaxed point of view on true love.” Jade might also be, as of approximately 4 hours ago, the wife of a certain still-dazed dentist who is missing a front tooth.
“She’s quirky and kind of cool, a hippie stripper. She has no pretense,” says Graham, who also happily notes that the role gave her the opportunity to flaunt her poledancing prowess, newly acquired in an L.A.-area fitness class. She also offers an interesting conversation she had with a Las Vegas cab driver during production. “He asked me about the movie and I told him it’s about these three guys who get wasted and can’t remember what they did the night before. He said, ‘Yeah, I’ve had many nights like that.’ So I guess a lot of people are going to relate.” Unfortunately, not everyone the guys run into are as nice as Jade.
Rob Riggle of “The Daily Show” appears as Officer Franklin, not exactly one of Las Vegas’ finest, but unnaturally talented with a stun gun. Ken Jeong (“Pineapple Express”) is the lethal and completely unhinged Mr. Chow, intent on seeking revenge for offenses that neither Phil, Stu, nor Alan have the vaguest recollection of having committed. Finally, comedy club headliner Mike Epps (“Soul Man”) involves the three in a sub-plot of mistaken identity that could cost the guys $80,000 they don’t have. But their most dramatic encounter, by far, is with Mike Tyson.
Appearing as himself in the movie, Tyson takes a playful jab at his formidable badass image, performs a little “air drum” number and reminds everyone that, retired or not, he has absolutely, positively still got it.
Stand-up comedy veteran Helms credits the fighter for one of the funniest lines uttered during production. “Todd was giving Tyson direction on how to punch Zach in a scene, and he was saying stuff like, ‘Mike, we need you to do it a little more like this and move your hand over a bit.’ And Tyson says, ‘I can’t believe the captain of the high school debate team is teaching me how to throw a punch!’ It broke up everyone on the set. Who knew the guy was funny? I’ve been doing comedy for 10 years; Mike Tyson walks in and he’s just like, ‘Check it—I’m funnier than you.’”
All in all, Goldberg sums up, “There’s a lot of physical comedy. We have big stunts, car crashes, fights, property damage, crazy naked guys, tigers, guys getting punched—it was a tough job.”
Production secured renowned stunt coordinator Darren Prescott to handle the rough stuff, but even he had to draw the line somewhere. At one point, Cooper recalls with a laugh, “We had this tasering scene. Now, Todd likes to do things as realistically as possible so it didn’t seem completely out of the realm when we heard he wanted us to really get shocked. He was saying, ‘C’mon, guys, it’s just fifty thousand volts,’ and it actually took me a minute to realize he was probably kidding.”
Of course, while all of this is going on, Phil, Stu and Alan are still desperately looking for Doug. Remember Doug? He’s the reason they’re all in this mess. “It’s almost like a comedic version of ‘Saving Private Ryan,’” Phillips riffs. “With Doug as the missing soldier these guys go through hell to rescue.”
Meanwhile, being held at bay on the other end of a mercifully long-distance cell connection is Stu’s domineering girlfriend Melissa, played by Rachael Harris (“Notes from the Underbelly”), none too pleased at having lost control of her man for the first time in their entire relationship. Likewise, Doug’s reasonable but increasingly frantic fiancée Tracy, played by Sasha Barrese, is fully engulfed in wedding prep back in L.A. and also holding her breath at the other end of a phone. She hasn’t heard from her groom-to-be in 48 hours. Every time she calls, she gets voicemail or a hurried response from Phil assuring her that everything is okay.
Tracy’s father Sid, played by Jeffrey Tambor, is the only one who remains remarkably calm, considering that he is not only the father of the bride but the owner of a classic Mercedes he loaned to his future—and ostensibly missing—son-in-law. Says Tambor, “Sid is convinced that Doug is just on a heater, and if he knows one thing it’s that you never walk away from the table when you’re hot.” If only it were that simple.
Las Vegas in the Light of Day: For Some, a Rare Perspective “The Hangover” was filmed at numerous practical locations in and around Las Vegas and in Southern California. Says Phillips, “For me, the key to doing a movie like this is to make it as real as possible. The humor is in the juxtaposition of every outrageous action against the very normal settings we have all experienced. If we’re going to Vegas, let’s shoot in the lobby and elevators and hallways of Caesars Palace.”
Production did exactly that, capturing a significant amount of footage at the famed hotel, an enduring and evolving Las Vegas landmark since the 1960s. Caesars shots include the rooftop toast and the poolside morning-after breakfast scene. At the north end of The Strip, another Vegas icon, The Riviera, provided casino interiors, complete with thousands of fake chips the prop department created to outfit the fifteen surrounding blackjack tables visible in a key gambling sequence.
Cast and crew soon learned that their presence made little difference to casino patrons, many of whom appear on screen as extras. Recalls Bradley Cooper, “No one seemed to care we were shooting a movie. Everyone was focused on their own playing and partying. We had to work around the screams of people at the roulette table. One guy was up $5,000 and then lost it all. Even our crew was cheering him on.” The downside to filming in Sin City for more than a month was that, as Phillips acknowledges, “It’s hard to wind down and get to sleep after work.”
While sampling from the buffet of blackjack, craps, roulette, Baccarat, slots and Pai Gow as many of his compatriots did during their downtime, Justin Bartha shared Phillips’ interest in Texas Hold’Em, and says, “For our filming kick-off party, Todd hosted a poker tournament for the cast and crew. He hustled all of us.”
“After five weeks, you realize Vegas is a place where people go to make terrible decisions,” says Ed Helms, who goes on with mock delight: “Here’s a bad decision. Oh, here’s another one. And hey, here’s something you can do that could ruin your entire life! The city is set up brilliantly for that and our movie is its ultimate expression.” Additional Nevada locations included the Fremont Street area in downtown Las Vegas, and a gas station and dry lake bed in nearby city Jean, where sandy wind gusts commonly reach 50mph, as they did on the days of shooting.
The fictitious Best Little Chapel was on Las Vegas Boulevard several blocks south of The Strip. Though appearing to have been part of the neighborhood for years, it was actually built on an empty lot to allow maximum control of the space around it for exterior action shots.
Returning to the Los Angeles area, the production used the old Rampart detectives’ headquarters at Union and Third Streets to stand in for the Las Vegas Metro Police Station, relying upon its strict blue and gray palette and serious air to contrast with the distinctly crazier atmosphere that Phil, Stu and Alan have been experiencing. But the most striking contrast was between the Las Vegas chaos and the country club wedding that awaits Doug and his would-be groomsmen back home.
“We wanted to set up polar opposites. In Vegas, it’s a visual nightmare: loud, bright, grating, without a bit of softness. Meanwhile, on the other end of the phone in L.A. where Tracy is preparing for the ceremony, we have beauty and serenity, soft music, attractively dressed people and a garden with roses and hydrangeas,” says production designer Bill Brzeski.
Film fans may recognize the wedding reception entertainers as irreverent singer Dan Finnerty and his Dan Band, previously featured in Phillips’ “Old School” and “Starsky & Hutch.”
Brzeski and his team created one set from scratch on Stage 15 at Warner Bros. Studios, the lavish—and then lavishly trashed—hotel suite. Working from a template of existing rooms at Caesars Palace and comparable hotels, Brzeski designed a look “rich in red and brown tones, with wood paneling, marble and beautiful fabrics, to reflect the sensual and luxurious side of Vegas, as experienced by a certain echelon of high-rollers.” Addressing the decision to construct the space, the designer asserts, “We didn’t want to wreck a real hotel suite,” and adds that there was another special consideration: “You can’t get a tiger into a real hotel room.”
Well, maybe you can, but you shouldn’t. Four tigers were trained for different and specific tasks on screen, while the film’s cast and crew were similarly trained to a strict protocol about sharing space with them.
“Tame or not, working with wild animals is serious business and tigers, in particular, don’t like surprises. The facility was fully locked down whenever they were present and non-vital personnel were kept off the set,” says Brzeski. Those remaining were cautioned to avoid sudden movements or hiding themselves from view.
For certain actions, it was necessary to use a life-size animatronic tiger provided by the Jim Henson Creature Shop, requiring two puppeteers to operate. Thirty tiny intricate servo motors controlled the model’s realistic facial movements, while a concoction made from K-Y Jelly served as saliva on its impressive fangs.
Brzeski also learned a bit of big cat trivia: tigers prefer to walk on firm surfaces. Therefore, in scenes that called for them to be inside the back seat of the guys’ Mercedes, seat cushions were removed and replaced with hard, solid material. “Hey, we wanted the tigers to be as comfortable as possible,” he jokes.
The car itself was a work of art: a vintage 1969 soft-top convertible Mercedes Benz, graciously lent to Doug by his future father-in-law, Sid, for this trip. A total of five identical models were collected and used by the production to illustrate the various ways in which the car gets wrecked and battered. Says Brzeski, “We couldn’t take just one car and put it through the process because we were shooting out of sequence. We even had to cut one in half and put it on a trailer. It was one of the movie’s running jokes: every time you let your kid borrow the car, something is going to happen.”
Of course, the reason Sid offered the car was in keeping with his philosophy that Doug should have a good time in style before the wedding—a point of view not shared by the actor playing Sid. “I’m the exact opposite of this guy. He says you’ve got to sow your wild oats, stir up some trouble before your wedding. That’s him. Me, I say take a hot bath, have some yogurt, maybe a Xanax and go to bed because it’s going to be a big day. That would be better,” Jeffrey Tambor suggests.
Todd Phillips acknowledges that they pushed the envelope on “The Hangover” for the sake of comedy, but remains convinced that there are real bachelor party stories out there that could make any one of these elements pale by comparison. With that in mind, he offers this sage advice to potential grooms or brides embarking on their own boys’ or girls’ night out. “Use the buddy system. Everyone in the party is responsible for one other person. Use name tags if you have to.”
The Hangover (2009)
Directed by: Todd Phillips
Starring: Bradley Cooper, Ed Helms, Zach Galifianakis, Heather Graham, Justin Bartha, Jeffrey Tambor, Rachael Harris, Mike Epps, Jernard Burks, Bryan Callen, Sasha Barrese
Screenplay by: Jon Lucas, Scott Moore
Production Design by: Bill Brzeski
Cinematography by: Lawrence Sher
Film Editing by: Debra Neil-Fisher
Costume Design by: Louise Mingenbach
Set Decoration byu Danielle Berman
Art Direction by: Andrew Max Cahn, A. Todd Holland
Music by: Christophe Beck
MPAA Rating: R for pervasive language, sexual content including nudity, and some drug material.
Distributed by: Warner Bros. Pictures
Release Date: June 5, 2009
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