Here is one piece of advice for all filmmakers contemplating making a sequel: If the original movie relied on the characters more than the plot, the sequel will inevitably cave. This proves to be the main problem with "The Whole Ten Yards," starring Matthew Perry and Bruce Willis.
The movie begins with a flashback to 1961 when Lazlo Gogolak, head of the brutish and dimwitted Hungarian mob family, establishes the dynasty for his sons, one of whom is Yanni. In "The Whole Nine Yards," Yanni was played by Kevin Pollak, and in this one he returns as Yanni's father Lazlo. Recently released from jail, Lazlo has concocted a plan to kidnap Cynthia (Natasha Henstridge), wife of Nicholas "Oz" Oseransky (Perry), so that Oz will lead the gangsters to the hideout of his contract-killer friend Jimmy "The Tulip" Tudeski (Willis). When Oz gets there, he finds that the once cold-blooded killer has now taken to knick-knacking, cooking and dusting, whereas his wife Jill (Amanda Peet) has taken up the killing trade but with a less-than-exemplary record. What ensues is a comedy of errors and predictability. The end is a total cop-out, but does it leave the door open to "The Whole Eleven Yards"? Only time will tell.
The movie tries to pretend it is not inextricably linked to the first film, but it is. The strength of the first film was its two interesting and truly funny characters: a cool contract killer and a neurotic dentist. The plot of the first was not particularly complex, but it derived much of its stability from unexpected turns. This is also the basis for the second movie. Despite having a new writer and director, the second movie uses some of the exact same elements.
Moreover, the characters lose some of their development in the second film, mostly because they are all repeats. Willis and Perry were so well-cast in these roles and they used the entire first film to establish themselves. The sequel relies on an understanding of the characters in the first film and does not relay any growth in the second. There are also many lesser characters who became redundant.
The exception to this is Pollak, who is absolutely hilarious in every scene. He exemplifies comedic timing and is able to create a persona that begs to be watched. The audience hangs on his every word. But perhaps this proves the former point: He created a completely new character for the sequel, and he really made the movie.
One of the more interesting redeeming factors of the film is that it is fun to watch because of how much fun the actors have making it. At certain points, Jimmy breaks down crying, but for a moment you think he's laughing.
Perry is an understated master of physical comedy and line delivery. When he slams into a door or falls on the ground, the other actors in the scene admire him. He delivers lines you think pack a mediocre punch, only to follow up with the real thing. Willis relies on pushing Perry around, and Perry relies on being pushed around.
"The Whole Nine Yards" was smart and really felt like a complete package, whereas "The Whole Ten Yards" is campy and more like a TV show episode. You will get more yardage by looking at the sequel as a parody of sequels and take the laughs as they come.
