Every agreeably great director seems to have a distinct style, a personal voice, a kind of film that only they could make right.
Do it long enough and online film enthusiasts will add the hallowed suffix “-esque” to the director’s name in a feeble attempt to define what makes their films so good.
Until 2019, for Todd Philips this personal style came in the form of slapstick, yet astoundingly successful, road-trip comedies like “The Hangover” and “Due Date.
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