Analyze That Review
by Jon Popick (jpopick AT sick-boy DOT com)December 20th, 2002
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They just can't stop themselves, can they? Any film that manages to crack the $100 million domestic box office mark is practically guaranteed a sequel. Analyze That is yet another 2002 follow-up we just didn't need (following sequels to Men in Black, Stuart Little, Spy Kids, Star Trek and - yes - even Austin Powers). Here's how I imagine the meeting between the film's producers sounded:
PRODUCER #1: "So we're doing a sequel, right?"
PRODUCER #2: "Yeah, and even though we made a ton of money last time, we can make even more this time if we don't waste cash on a script. These two fucking guys are funny enough on their own!"
PRODUCER #1: "Whoa - no script? You're a genius!"
PRODUCER #2: "Damn straight, I am. Now let's talk about that three-picture deal for the Rally Monkey."
That almost seems improvised, which makes me think the producers were much more worried about re-signing the talent from the first film than they were commissioning a coherent script. There are definitely a bunch of very funny moments, but most of it is either re-hashed gags from the first film or humor that is rooted in either cheap physical comedy or jokes revolving around the whole dick-and-balls area. Now, as most of you probably know, I have no problem with dick jokes. I guess I'm just not sure why they're supposed to be hysterical here, while the very same stuff in an Adam Sandler film is always seen as unbelievably crass.
That opens two-and-a-half years after the conclusion of Analyze This, which found mob boss Paul Vitti (Robert De Niro, City by the Sea) headed for the pokey, and nebbishy headshrinker Ben Sobol (Billy Crystal, America's Sweethearts) walking down the aisle with his sweetheart, Laura (Lisa Kudrow, Lucky Numbers). Two things occur to set this sorry plot in motion: The death of Ben's father and several attempts to take Paul's life while he's in prison. A few wacky song-and-dance numbers later, Paul has been released into the still-grieving Ben's custody in an attempt to rehabilitate the mobster before his upcoming parole hearing.
Huh? Did that make a lick of sense to you? Me neither. That is based on a bizarre concept that is so completely and immediately unbelievable, it sets a bad tone for the rest of the film. Not that the film couldn't have eventually done that on its own - it's a choppy mess. Comedy without rhythm is barely comedy, a point proven by the outtakes that run during That's closing credits. They're funnier than 90% of the film's actual content.
They may as well have stuck a cardboard cutout of Kudrow in That, since she was only in about three scenes. The only new character of note is the one played by Anthony LaPaglia (The Guys). He's an Australian star of Little Caesar, a hit Sopranos knockoff that Paul is hired to work on as a consultant. Insert gag about Down Under, and you pretty much understand how important this character (or any character besides Paul and Ben) is to the film. Hope you like shallow laughs that you won't be able to remember once you've passed the concession stand on your way out the door.
1:35 - R for language and some sexual content
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