‘Get Him to the Greek’

To laugh, or not to laugh.

That is the question, especially with a movie like "Get Him to the Greek."

This summer's gross-out "Hangover" wannabe, "Get Him to the Greek" has several things going for it, from the satirical minefield of its rock-music setting to the amusing reunion of "Forgetting Sarah Marshall" scene-stealers Russell Brand and Jonah Hill.

But this latest model from producer Judd Apatow's bromance assembly line has just as many things going against it, including its all-over-the-place pacing and -- inevitably -- its in-your-face, anything-for-a-larf comedic philosophy.

That's larf, as in barf.

So here's a handy-dandy quiz to determine whether "Get Him to the Greek" is your kind of movie.

There's a guy (in this case an earnest, funny fat guy, but it could be any guy) who's utterly oblivious to a smear of vomit on his smiling face.

Do you laugh? Do you cringe? Do you cringe, then laugh?

Or do you sigh and shake your head, secure in the knowledge than no matter how raunchy things get -- and that's pretty raunchy -- "Get Him to the Greek" ultimately will pull its punches in time for the heartfelt, all-is-forgiven finale?

Like so many other movies of its type, "Get Him to the Greek" assumes that a heaping helping of sentiment just before the happy ending will redeem its raunch by reminding viewers of the protagonists' essential humanity.

Wrong. It just reminds viewers (or this viewer, anyway) of its essential willingness to sell out in the name of crowd-pleasing sentiment.

But never mind. Most people will be too busy laughing to notice -- or to care.

For crabby critics like me, however, such things seem easier to notice in a movie with long stretches of frenetic mayhem -- and not enough laughs to go the distance.

Although "Get Him to the Greek" reunites two supporting standouts from the 2008 comedy "Forgetting Sarah Marshall," it's not a sequel -- because only Russell Brand reprises his role as rock star Aldous Snow.

He's as much off-his-rocker as ever -- but is also off the wagon since a messy breakup with his longtime love, Brit-pop tart Jackie Q (a cheeky Rose Byrne).

Jonah Hill, who played a Snow-obsessed waiter in "Forgetting Sarah Marshall," plays another loyal Aldous Snow fan in "Get Him to the Greek."

This time, however, that fan is Aaron Green, a low-level schlub at Snow's L.A. record label, which is run by the maddening (and possibly mad) Sergio Roma (Sean "P. Diddy" Combs).

When the boss demands some snappy ideas from his underlings, Aaron suggests that Aldous Snow return to Los Angeles' legendary Greek Theatre, scene of a long-ago triumph, for a comeback concert.

Great idea, Sergio decrees, dispatching Aaron to London to escort Aldous to L.A.

It's a dream come true for Aaron, who's so thrilled by the chance to get up close and personal with his personal rock god he hardly notices the less-than-ecstatic reaction of his girlfriend Daphne ("Mad Men's" Elisabeth Moss) to his impending road trip.

Clearly, Daphne knows something Aaron doesn't.

Once he connects with Aldous in London, Aldous leads Aaron on a round-the-town spree -- making them late for a very important date in New York, where Aldous hits the "Today" show. (If only Meredith Viera had hit back.)

Next, it's off to Vegas, baby, Vegas.

Sin City proves the perfect stage for the movie's most unhinged debauchery -- and a reunion between Aldous and his long-estranged lounge musician father (Colm Meaney). Sergio shows up too, just to make sure the partying's extra-hearty.

Someday, I'd love to see a Vegas movie where the characters gaze out the window of their fantasy suite to see what the Strip really looks like these days. This isn't it; Treasure Island's old pirate-style marquee and what appears to be the long-ago-imploded Sands tower don't exactly qualify.

But "Get Him to the Greek" has bigger problems than outdated stock footage of the Strip.

Writer-director Nicholas Stoller (who directed, but didn't write, "Sarah Marshall") tries to blend raucous rock 'n' roll satire and heartfelt character comedy but never gets the balance right.

Instead, the movie caroms from outrage to attempted insight, dragging us through some awfully bumpy, and not necessarily gut-busting, territory.

Especially when you ponder Aldous' self-destructive drugging and drinking -- and Aaron's growing realization that partying like, and with, a rock star isn't such a dream after all.

Stoller also never solves the riddle of "Get Him to the Greek's" premise: how to turn supporting characters into leading characters you're happy to watch for an entire movie.

In "Sarah Marshall," Aldous Snow and his obsessed waiter stole plenty of scenes . In "Get Him to the Greek," that scene-stealing function is performed by the dapper Mr. Combs, whose profanity-laced tirades prove the movie's most dependable laugh-getters. (Stay through the credits and you'll get a bonus outburst .)

Now that they're responsible for holding the entire movie together, Hill and Brand respond with surprisingly affecting performances, Hill's everyguy desperation contrasting nicely with Brand's out-there, out-of-control anguish.

As a team, they'd be ideal in a rockin' update of "My Favorite Year," the 1982 delight about a TV intern assigned to keep a notorious, perpetually sloshed movie swashbuckler (a peak-form Peter O'Toole) out of trouble until the star's guest stint on a live '50s variety show.

But in a down-and-dirty contemporary romp like "Get Him to the Greek," the duo's undeniable humanity keeps getting in the way of all the rude-'n'-crude antics.

If only we could figure out whether to laugh with them, or laugh at them.

Because the movie can't decide between those two options, however, neither can we.

Contact movie critic Carol Cling at ccling@reviewjournal.com or 702-383-0272.