The Absurd Comedies of Andrew McCarthy

      Once part of a collective of actors known as 'The Brat Pack,' Andrew McCarthy has also appeared in three wildly comedic films throughout his career.

      The 1980s and 1990s were significant for the comedy genre. In addition to iconic comedies featuring brilliant ideas like Planes, Trains and Automobiles, this era is recognized for its outlandish, absurd, and often misguided concepts.

      That said, these puzzling ideas sometimes yielded successful outcomes; for instance, Weird Science, in which a couple of nerds create a stunning woman using their computer, struck a humorous note within its absurdity. John Hughes, a master of 80s concept comedy, was behind both Weird Science and Planes, Trains. He also explored comedy through unique scenarios like a street-smart kid playing hooky in Ferris Bueller’s Day Off and a 10-year-old left Home Alone to fend off burglars.

      Hughes was instrumental in introducing a generation of young stars in the 1980s, referred to as ‘The Brat Pack,’ featuring talents like James Spader, Rob Lowe, Demi Moore, and Andrew McCarthy.

      Initially, McCarthy became known for portraying jerks or slackers (often a blend of both). He possessed good looks, an effortless charm, and just enough underlying awkwardness to bring a touch of nerdiness to his roles when necessary.

      While McCarthy’s most memorable projects included several from the John Hughes repertoire (such as Pretty in Pink and St Elmo’s Fire), three particularly high-concept comedies stand out for their laughably absurd and surprisingly dark ideas (especially regarding one and its sequel). Let’s revisit these wildly energetic Andrew McCarthy comedies…

      Weekend at Bernie’s

      Among the many puzzling films approved by studios, Weekend at Bernie’s is a standout. Directed by the late Ted Kotcheff—a testament to his versatility—this film follows a couple of slackers who, eager to make their mark within an insurance company, uncover inconsistencies in payouts and report their findings to their boss, Bernie, a wealthy big shot always with a beautiful woman by his side. Richard (Jonathan Silverman) still lives at home with his parents, while Larry (McCarthy) barely drags himself through life in a roach-infested apartment. They hope that revealing the financial discrepancies will gain them favor with Bernie, leading to an invitation to his beach house for the weekend.

      However, it's revealed that Bernie has been embezzling funds and has ties to the mafia, who plan to eliminate him. A series of convoluted events result in Bernie’s demise, and rather than alerting the authorities, Rich and Larry decide to maintain the pretense that Bernie is still alive. This results in a plethora of comedic situations, including friends interacting with Bernie, blissfully unaware of his death, and the duo taking him out for golf excursions, as one of Bernie’s lovers claims he’s “better than ever.”

      While such a premise might not find approval in 2025, it remains entertaining despite its macabre elements. The film is vibrant, chaotic, and full of unexpected twists. McCarthy embraces his role as Larry with playful mischief, and Terry Kiser impressively delivers a remarkable performance despite being dead for much of the film. While it pushes the limits of logic and taste, this nostalgic favorite still brings laughter.

      Weekend at Bernie’s II

      In the realm of poorly conceived comedic sequels, Weekend at Bernie’s II is notable, albeit overshadowed by others like Mr. Nanny or Soul Man, where C. Thomas Howell pretends to be a Black man to get a scholarship. There's a fine line between recycling a concept and pushing it too far, and this sequel is often seen as a blatant cash grab. In this follow-up, Bernie is partially revived through voodoo magic so gangsters can locate where he hid his stolen millions.

      Released four years after the first film, this sequel felt outdated, as McCarthy’s appeal had waned by this point. Meanwhile, Silverman faced bad luck when his time loop film, 12:01, coincided with the release of Groundhog Day. Neither was able to recapture the magic of the original, hindered further by the sequel’s lackluster script and direction from Robert Klane.

      Yet, it's so absurd that it retains a certain level of entertainment, even if viewers find themselves laughing more at it than with it.

      Mannequin

      In McCarthy’s offbeat comedic ventures, the absurdity often revolved around inanimate objects, and Mannequin exemplifies this. This quirky 80s rom-com infused with fantasy features a young woman, trapped in an unwanted marriage in ancient Egypt, who is transformed into a mannequin after praying to the gods. McCarthy’s character, Jonathan, spends countless hours meticulously creating the mannequin. After losing his job, he