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Attempting to explain why a HAROLD & KUMAR movie is funny is perhaps the most daunting task I can think of. You either think an infant accidentally inhaling a massive amount of drugs and climbing on the ceiling is funny or you don't. No judgment if you don't think that scenario is hilarious, but if you can't see the humor you may need to seek medical attention to get that stick removed from your rectum. I went back and forth on this next statement for many days after seeing their latest adventure, A VERY HAROLD & KUMAR 3D CHRISTMAS, but I'm pretty certain this is my favorite in the series because this film treats the lead characters as actual people with real problems and obstacles they must overcome before their lives can continue.
Detailing the individual jokes or scenes seems pointless. The real fun with H&K CHRISTMAS is the discovery, both of the surprisingly strong script that picks apart the nature of the central friendship and why it fell apart. There are actually some rather heartfelt scenes between Cho and Penn that are both funny and touching. But the film is also a tribute to the great holiday movies of the past. There's a claymation sequence, one of the best homages to A CHRISTMAS STORY you will ever see, and a musical number led by NPK that will mentally induct you into the Christmas spirit without fail.
The movie is a fantastic balance of old-fashioned, family-value mentality crashing head on into some of the most inappropriate comedy I've seen in years. I should also mention that the 3D here is actually some of most cleverly utilized in recent memory, in particular the wafting smoke that seems to linger right in front of your face in a couple of scenes.
"Hasn't the whole 3-D thing jumped the shark by now?" That's the question posed early in A Very Harold & Kumar 3D Christmas by Harold (John Cho), the more responsible half of the 21st century's Cheech & Chong. The major movie studios may not be ready to accept it, but the answer to that question is yes — which is why it's so refreshing when screenwriters Jon Hurwitz and Hayden Schlossberg wedge a winking acknowledgement into their film.
Thankfully, Christmas sees the series returning to something closer to its White Castle form.
Neil Patrick Harris turns up again as an abusive, drug- and sex-addicted fictional version of himself, but also gets to do a bit of song and dance in a holiday song-and-dance special that would do Busby Berkeley proud.
Christmas may lack some of the surprisingly insightful subtext of White Castle, but it never lacks for pure entertainment value. Strauss-Schulson, directing his first feature, is never shy about going for the requisite excess — of either the franchise or the 3-D format — and the two aesthetics blend perfectly in one sequence that has plumes of cocaine falling like snow as Bing Crosby serenely croons "White Christmas." Strauss-Schulson doesn't want the extra dimension to fade into the background as an afterthought; just as with the shameless showmen of 3-D's original 1950s heyday, his vision of the medium is unabashedly in your face.
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