Night at the Museum 2 isn’t a film content with itself. When it isn’t vying for the title of most irrelevant sequel, it decides to take a trip to Ben Stiller’s house for a mass celebrity circle jerk.
This isn’t just an excuse to make a mundane sequel, but for a bunch of overpaid comedians to make few laughs out of big ideas.
Growing up, adventure films would appeal to the simplistic nature of our naive brains and inspire us to climb trees and swashbuckle imaginary friends until our parents took us into psychotherapy.
What gave these films their longevity? Their lasting appeal for adults, their refusal to patronise and their universal humour. Now, what we are left with is Ben Stiller slapping two monkeys round the face – times have changed.
Night at the Museum didn’t set the world on fire. A night guard at a museum pitted against the exhibits as they came alive at night – it was a premise that had potential to be an exciting adventure tale, but the end result was underwhelming.
What we get in the sequel is more of the same. We get a brief glimpse at the larger scale objects that are sure to amaze but nothing really takes off. The only thing that is substituted from the original is the location and – instead of the father and son relationship anguish – it has Larry doubting his newly found fortune. Amelia Earhart (the adorable Amy Adams) lends support and acts as a strange love interest (considering she turns to wax come sunlight – something they get around with a cop-out, come closing credits).
One of the most surprising elements of the film is how it can be so packed with great comedy actors, some old (Christopher Guest) and some new (Bill Hader), but all of whom make damp squibs of their respective roles. Ben Stiller just seems to mope about in a role that actually gives him less to do than the original.
As an aid to the little ADHD, dribbling spawn that the film is aimed that, there are enough colourful characters and monkey-slapping action to keep them transfixed for quite a while. Otherwise there is little here for anybody to really connect with. Stiller is going through a mid-life crisis of sorts – something your average eight-year-old finds as interesting as their veg – and appears dull to adults. The historical figures are about as accurate as a pack of Top Trumps cards, with only Al Capone proving entertainment value.
When it comes to the finale battle, neither Steve Coogan entering stage left mounting a squirrel or eagle-headed Spartans make a spectacular finale. This throw-it-at-the-wall approach to studio comedy is ineffective and a reflection of a business that thinks sticking a bunch of ‘it’ name comedians in a bluescreen room with a blank page in front of them equals comedy gold. This is instead a display of Ben Stiller polishing his ego and giving a generous cheque to all his buddies.
Hecklerspray Rating: 2/5
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