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Man on Fire is also a film about fractured perspectives and subjectivity. Pelham likewise. Everyone can see a bit of the picture, but no one sees the whole. The villains are in total command in their own capsule but look out upon only lurking darkness. Snipers see their targets but not the hostages. Garber is involved via computers and technology, but cannot see the real thing. For Scott, cameras and computer screens function toward reality in ways like mirrors have functioned toward characters in classical cinema – as indicators of division. The technology allows us to commune around an event but also forces us into a distorted fragments of its reality. It lets us see the elephant but only feel the tail.

Director Todd Phillips loves frat boy bonhomie. His cult hit "Old School" has taken up its spot in the "Animal House" pantheon. It would be wonderful to say that "The Hangover" captures that feeling of male bonding and ritualism, but it really doesn’t. From a friendship perspective, these guys all take their own separate cabs. If the search for a missing pal seems like an annoying distraction from a comedy routine for the men involved, why should it matter to the audience?