Malapropisms abound in Ben Stiller’s Zoolander 2, a cameo-heavy sendup of the fashion industry. The sequel takes off fifteen years later, in New Jersey, where Derek Zoolander has holed up following his wife’s tragic death when the Derek Zoolander Center For Kids Who Can’t Read Good And Wanna Learn To Do Other Stuff Good Too collapsed. Hansel survived the collapse but was maimed, now he lives in uncharted Malibu territory, with a gang of fellow orgiers, including Jourdan Dunn and Kiefer Sutherland, both of whom Hansel has impregnated and fearfully abandons. If its predecessor’s conceit was supermodels-as-assassins, Zoolander 2’s premise is supermodels-as-cult-members. The movie revives many of the old gags: some work, others don’t. Its best skewering comes by way of Don Atari, a hipster designer with dreads, an incarnation of the snarky but upbeat, passive-aggressive, inclusive, P.C. Gen Y poptimist. Zoolander 2 is fast and funny and expensive looking. Since the music accompaniment is meant to parody rather than to be taken in earnest, Theodore Shapiro’s workmanlike score is forgivable.
By Alec Julian & Carrie White