Funny People II

George Simmons, Adam Sandler, is a once-successful stand-up comedian whose career is marked by a series of absurdly silly movies. In many of his films, he plays exaggerated, comic versions of himself—like a merman in a Splash-like comedy or a baby with an adult’s head in a Little Man parody. Now, in what feels almost autobiographical, George is confronted with a harsh reality when he visits his doctor and learns he has an advanced form of leukemia that conventional treatments cannot treat. Despite being offered experimental medication with only about an 8% chance of survival, he faces the frightening prospect of his own mortality.

Back at his luxurious mansion, George’s wealth and fame starkly contrast with his emotional isolation. He is surrounded by material comforts but lacks genuine connection and companionship. One of his first attempts at reconciliation involves calling Laura, Rachel Keller, the woman he loved many years ago, hoping to apologize for destroying their relationship. However, the conversation is awkward and unfulfilling, highlighting his estranged relationship with her.

Meanwhile, Ira Wright, Seth Rogen, is an aspiring comedian working a low-paying job at a delicatessen. His life revolves around performing at local comedy clubs, often with financial aid and encouragement from his roommates Leo and Mark. Mark, played by a successful actor, is already earning well on a sitcom called “Yo, Teach!”, and he’s dating Daisy, a fellow stand-up comedian and Ira’s long-time crush. Mark’s confident yet threatening promise to sleep with Daisy in ten days adds tension to Ira’s insecurities.

During an open-mic night, Ira’s night takes an unexpected turn when George Simmons unexpectedly arrives, stunting the show with a depressing, uninspired stand-up routine that leaves the audience uncomfortable. Ira’s own performance begins poorly but ends with him insulting George, which catches George’s attention. Later, in the parking lot, George playfully threatens Ira before speeding off in his luxurious truck. The next day, George calls Ira, expressing admiration for his talent and asking if he and Leo can write jokes for him, as George plans to get back into stand-up. Ira, excited and eager, agrees, deliberately withholding this opportunity from Leo.

Soon, George hires Ira to be his personal assistant, a role that involves writing jokes, running errands, and, significantly, sitting with George during his nightly medication routines. These bedside conversations reveal intimate details about George’s troubled past—his strained relationship with his abusive father and how humor helped him survive. Despite his illness, George remains promiscuous, bringing home women and having sex, even as Ira watches uneasily from the sidelines. Their bond deepens as Ira helps George manage his illness and offers emotional support, making George open up about past heartbreaks, including his failed relationship with Laura.

As they spend more time together, George’s attempts to reconnect with old friends—famous comedians like Paul Reiser and George Wallace—fail to lift his spirits or heal old wounds. His efforts to fix his fractured relationship with his sister are equally unsuccessful, leaving him further isolated. Visits to his Swedish oncologist, Dr. Lars, become humorous yet poignant moments as Ira and George tease the doctor, while navigating the reality of George’s illness.

The story intensifies with personal setbacks, including a betrayal when Ira discovers that his roommate Mark has had sex with Daisy—crucial to Ira, who believed she was interested in him. Though Daisy defends her actions, claiming Ira was never her boyfriend, this deepens Ira’s insecurities. During Thanksgiving dinner, George delivers a heartfelt toast, warning everyone to cherish their friendships and time with loved ones before they slip away, subtly encouraging Ira to pursue what makes him happy.

Later, George reconnects with Laura, now more understanding and warm, and they share tender moments. He even invites her to a comedy show in San Francisco, where she is living with her new family. The reunion sparks hope that they might rekindle their relationship. Back at Laura’s home, George and Ira spend time with her daughters, playing and bonding, which underscores the importance of family and love.

Things take a complicated turn when Ira unexpectedly follows Laura to the airport, hoping to prevent her from reuniting with her unfaithful husband, Clarke. The confrontation erupts into a chaotic scene, with Clarke discovering George at the house and engaging in a fierce fight, during which Ira, trying to protect his friends, gets badly beaten. Laura’s determination to preserve her marriage ultimately prevails, and George, disappointed and hurt, falls into a cycle of regret and self-pity.

Their friendship, once a close bond rooted in honesty and mutual support, crumbles as George accuses Ira of destroying his chances at love. In a hurtful exchange, George dismisses Ira as a loser who will never find happiness, and Ira fires back with accusations of George’s selfishness and inability to love. The film closes with Ira returning to his simpler life—working at the deli, performing comedy with newfound confidence, and dating Daisy seriously. Although George is in the audience, he remains silent, perhaps reflecting on his shortcomings.

Eventually, George approaches Ira at the deli, but not with anger—he admits that Ira’s criticisms were valid. The two begin to reconnect, sharing jokes and ideas, hinting that despite their rocky journey, their friendship might have a chance to heal. Through this poignant and often humorous story, the film explores themes of mortality, friendship, love, and self-acceptance, revealing that even in the face of life’s harshest realities, humor and human connection can provide a way forward.

Last Updated: August 19, 2025 at 05:12