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Weekend at Bernie's II

Weekend at Bernie's II is a written and directed by , serving as a to his 1989 Weekend at Bernie's. Starring as Larry Wilson, as Richard Parker, and reprising his role as the deceased Bernie Lomax, the movie follows the two insurance company employees who, after being framed for their boss's , travel to St. Thomas in the to recover $2 million in stolen funds. To aid their search, local gangsters use to partially revive Bernie's corpse, leading to a series of absurd misadventures involving the animated body. Released theatrically by on July 9, 1993, the film runs for 97 minutes and is rated for brief nudity and mild language. It incorporates elements of , , and fantasy, continuing the original's premise of protagonists pretending their dead boss is alive to navigate corporate and criminal schemes. The screenplay picks up one day after the events of , maintaining continuity with the returning leads and Kiser's performance as the titular corpse. Critically, Weekend at Bernie's II received overwhelmingly negative reviews, earning a 13% approval rating on based on 31 critic scores, with the consensus reading: "It would appear to be all but impossible to make a worthwhile to a comedy about a corpse's exploits -- odds Weekend at Bernie's II never comes close to beating." aggregated an 80% negative response from critics, who described it as "relentlessly awful" and a thin extension of the original's concept. Despite the poor reception, it grossed $12.7 million at the North American against a $7 million budget. Audience scores were slightly more favorable at 41% on and 4.8/10 on , with some viewers appreciating the gags and Terry Kiser's energetic portrayal of the undead Bernie.

Development and Pre-production

Relation to the Original Film

Weekend at Bernie's (1989), directed by , centers on junior insurance executives () and (), who discover their boss () has been murdered but prop him up as if alive to enjoy a weekend party at his beach house, satirizing corporate excess and culture. The film achieved commercial success, earning $20.1 million at the domestic against a $15 million budget, despite mixed critical reception. Its central premise—deceptively maintaining the illusion of a dead superior being alive—spawned a lasting cultural referenced in and for scenarios of feigned vitality or cover-ups. Weekend at Bernie's II (1993) builds directly on this foundation by bringing back protagonists Larry and Richard, now implicated in fraud linked to Bernie's , as they seek to exonerate themselves. Bernie returns as the pivotal figure, but with a twist: his corpse is reanimated via , enabling limited autonomous movement, in contrast to the original's inert, manually manipulated body. This evolution amplifies the absurdity while retaining the core dynamic of the duo manipulating Bernie's "presence" to navigate peril. The sequel diverges in tone and setting from the original's Hamptons-based focused on white-collar deception, shifting to a adventure-comedy infused with elements, mob intrigue, and tropical escapades primarily in St. Thomas, U.S. . Whereas the first film critiques corporate , the follow-up emphasizes action and exotic locales. Additionally, distribution changed from 20th Century Fox for the original to for the sequel, aligning with varied studio strategies post the first film's profitability.

Writing and Development

Following the unexpected success of the original (1989) in and pay cable markets, which cultivated a , writer returned to pen and direct the sequel despite his initial conviction that the corpse-centric premise did not lend itself to continuation. Klane expanded the concept by introducing resurrection to reanimate Bernie, escalating the comedic absurdity while tying into the protagonists' quest to recover embezzled funds, thereby avoiding direct repetition of the first film's ruse. This creative pivot drew on cultural elements for the , setting the story in St. Thomas to differentiate the sequel's tone from the original's more grounded setting. Development accelerated after producer acquired the character rights from Gladden Entertainment and secured financing from ArtimM Productions, with the project greenlit in late following the original's growing international popularity, particularly in ; later acquired North American distribution rights in early 1993. The budget was established at $15–17 million, with approximately half funded through foreign presales to support the international filming locations. emphasized in character portrayals, including preparations for the returning role of Bernie to accommodate zombie-like antics central to the narrative. Conceptual challenges centered on balancing audience expectations for the 's familiar leads and premise with a fresh embezzlement-driven plot, ensuring the resurrection served as a novel escalation rather than a mere retread of the "" . Klane's maintained continuity by picking up one day after the original's events, focusing on the protagonists' return to exonerate themselves amid the money trail. These decisions were informed by the first film's cult appeal, with discussions beginning shortly after its release and financing secured in late 1991, leading to commencing in March 1992.

Cast and Characters

Main Cast

Andrew McCarthy reprises his role as Larry Wilson, the ambitious who, alongside his colleague, embarks on a quest to recover embezzled funds in the , contributing to the film's humor through affable mugging and determined antics. His level-headed demeanor contrasts with the escalating chaos, highlighting in scenes involving the corpse. Jonathan Silverman returns as Richard Parker, Larry's enthusiastic partner in the insurance firm, whose energetic reactions amplify the buddy-comedy dynamic amid the supernatural elements and farcical caper. Silverman's performance emphasizes exaggerated responses and teamwork in the physical gags, driving the duo's chemistry central to the film's puerile fun. Terry Kiser again portrays Bernie Lomax, the corrupt, deceased boss whose corpse is revived via , becoming a zombie-like figure central to the comedy through expressions, rubberized movements, and sequences like conga lines and . His physical as the lurching, dancing provides the 's most memorable humorous moments, marking his second portrayal of the iconic character.

Supporting Cast

Tom Wright portrays Charles, one of the servants under the employ of the voodoo priestess Mobu, who assists in the ritual to partially revive Bernie Lomax's corpse as part of the mobsters' scheme to recover the stolen funds. His role introduces a layer of supernatural antagonism, blending comedic mishaps with the film's chase dynamics through bungled voodoo ceremonies and pursuits across the island. Troy Beyer plays Claudia, a local employee who becomes Larry Wilson's romantic interest, weaving a lighthearted amid the tropical escapades and providing moments of flirtation that contrast the central frenzy. Her character adds warmth to the ensemble, facilitating key interactions that propel the protagonists' adventures in the setting. Barry Bostwick embodies Arthur Hummel, the sharp-witted insurance company investigator dispatched to track down the embezzled $2 million, heightening the tension through his relentless pursuit of and while uncovering ties to the broader . As a corporate foil to the chaotic protagonists, Hummel's dogged determination escalates the 's comedic confrontations and evasion sequences. Among other notable supporting performers, Steve James appears as , Charles's counterpart in the voodoo entourage, contributing to the mystical elements and later comedic hotel skirmishes that underscore the story's island hijinks. delivers a commanding performance as Mobu, the authoritative enlisted by the to locate the hidden money, whose rituals and curses drive pivotal subplots involving supernatural comedy and cultural tropes of . These roles collectively enhance the ensemble's dynamics, with the supporting cast's portrayals of locals and antagonists interacting with the leads in scenes of bungled rituals and chases that amplify the film's tone.

Production

Filming Locations and Process

Principal photography for Weekend at Bernie's II commenced on March 14, 1992, and continued until mid-May, spanning roughly ten weeks. The majority of filming took place in St. Thomas, U.S. , to depict the film's Caribbean setting, while sequences were shot to represent urban environments. Key locations in St. Thomas included for beach chase scenes, downtown Charlotte Amalie for street action, and resorts such as Stouffer’s Grand Beach Resort, Frenchman’s Reef Resort, and , which integrated the plot's adventure elements like the ritual to heighten the comedic tension. shoots focused on the subway and to contrast the tropical escapades. The script's premise directly influenced the selection of St. Thomas over the original film's sites, providing an authentic backdrop for the supernatural revival of Bernie. Director approached the production by prioritizing humor and continuity with the first film, enabling dynamic sequences where the voodoo-possessed Bernie, played by , performs animated movements such as dancing without relying on static corpse effects from the predecessor. The film was captured using and lenses to support its lively, on-location execution. The production had a of $15–17 million.

Post-production and Challenges

Following , the of Weekend at Bernie's II involved led by Peck Prior, who assembled the footage to achieve a tight 97-minute while emphasizing comedic pacing through careful cuts to the sequences. enhancements were added during this phase to heighten the timing of gags, including subtle audio cues for Bernie's jerky, voodoo-induced movements, such as chicken clucks in one scene. Special effects for the voodoo-animated Bernie were primarily practical, relying on wires, prosthetics, and performer Terry Kiser's physical performance to simulate the corpse's unnatural , with minimal use of given the technological constraints of 1993. On-set voodoo sequences received additional refinement to blend seamlessly with the live-action elements. The cast and crew, mainly from the area, were on location when the broke out. The soundtrack integration featured a score composed by , incorporating influences to evoke the film's island setting.

Release

Theatrical Premiere and Distribution

Weekend at Bernie's II was released theatrically in the United States on July 9, 1993, by . The film had a wide domestic release, opening in 1,334 theaters. As a to the 1989 original, it leveraged the established fanbase for the comedic premise involving the protagonists' antics with their deceased boss. The marketing campaign focused on the film's supernatural voodoo element and the return of stars and , with trailers highlighting the plot's twist where Bernie Lomax's corpse is reanimated. Promotional posters featured the "Bernie's back... and he's still dead!", emphasizing the continuation of the absurd humor to appeal to a summer audience. Internationally, the film rolled out in starting in 1993, with releases in countries such as , , and , followed by further markets including in November 1993 and in January 1994. The of America rated it PG for brief and mild language, with a runtime of 97 minutes.

Home Media and Availability

The VHS release of Weekend at Bernie's II occurred in late through TriStar Home Video, shortly following its theatrical debut. The film received its DVD debut on December 4, 2001, distributed by in a format with DTS and in multiple languages, including English, French, Spanish, Chinese, and Korean. In the , collector's editions emerged as double-feature DVD sets bundling Weekend at Bernie's II with the original 1989 film, offering fans combined access to both entries in the series. As of 2025, the film is available for digital purchase and rental on platforms such as , with no free ad-supported streaming options currently listed and no UHD restoration released.

Reception

Critical Response

Upon its release, Weekend at Bernie's II was met with overwhelmingly negative reviews from critics, who largely viewed it as a failed attempt to recapture the original film's absurd charm. On , the film has a Tomatometer score of 13% based on 31 reviews, with an average rating of 3.6/10; the consensus describes it as a that "never comes close to beating" the challenge of improving on a centered on a corpse's antics. Similarly, assigns it a score of 16 out of 100 based on 20 critics, signifying "overwhelming dislike" and highlighting its strained humor. A few reviewers found redeeming qualities in the film's and unconventional premise. Terry Kiser's portrayal of the reanimated Bernie drew particular praise for its energetic physicality and silent expressiveness; Stephen Holden of noted that Kiser "exudes the foolish amiability of a partygoer who is beyond plotzed and is living in a private world of his own," crediting his performance for providing sporadic amusement amid the chaos. Variety's David Rooney also appreciated the revival concept, observing that it allows Bernie to "cut loose like a funkmeister" in well-executed gag sequences, offering "puerile fun" for fans of the predecessor. Critics predominantly lambasted the sequel for its lack of , repetitive gags, and weak scripting. Rooney criticized the film for "stretch[ing] a thin idea even thinner," arguing that director fails to connect scenes effectively, resulting in a plot that sags under subplots and underdeveloped romance. The Washington Post's Rita Kempley echoed this, calling it a "mindless rehash" reliant on overfamiliar corpse antics without fresh wit, while the Los Angeles Times described the humor as "forced and predictable," underscoring the script's inability to evolve beyond the original's formula. These shortcomings contributed to the film's reputation as a "lame sequel" burdened by dated elements in its portrayal. Audience reception was somewhat more forgiving, suggesting mild entertainment value despite the critical panning. On , it holds a 41% score based on over 25,000 ratings, indicating divided opinions but some appreciation for its lighthearted, if silly, .

Box Office Performance

Weekend at Bernie's II had a estimated between $15 million and $17 million, significantly higher than the original film's due to expanded filming locations in St. Croix and enhanced for the sequences. The sequel was financed independently by ArtimM Productions, with foreign presales covering approximately half of the costs. Released on July 9, 1993, by , the film opened in 1,334 theaters and earned $4,004,668 during its debut weekend, representing a middling performance for a summer release amid heavy competition. Over its entire theatrical run, it grossed $12,741,891 domestically, with minimal international earnings, resulting in a worldwide total under $15 million. In comparison, the 1989 original earned $30,218,387 domestically on a lower budget, highlighting the sequel's underperformance, which has been partly linked to sequel fatigue and the dominance of blockbusters like during the 1993 summer season. This modest turnout was also influenced by the film's critical panning.

Cultural Impact

Media References and Parodies

The film Weekend at Bernie's II and its elements, particularly the voodoo-reanimated corpse of Bernie Lomax and his signature , have been referenced and parodied in various television shows. In the "The Stranded" (Season 3, Episode 10), a rents the original film as part of a plot involving deception during a social gathering, echoing the themes of maintaining a facade around a deceased individual. How I Met Your Mother features direct nods to the franchise, including the eighth-season episode "Weekend at Barney's," which parodies the premise of pretending a "dead" friend is alive to navigate social situations. In film, the sequel's trope of manipulating a seemingly lifeless body for humorous effect appears in similar gags. Zombieland (2009) includes a sequence where characters encounter Bill Murray pretending to be a zombie, leading to mistaken identity and chaotic interactions akin to the "dead man walking" humor. The "Movin' Like Bernie" dance, derived from Terry Kiser's animated performance as the reanimated Bernie, became a viral trend in the early , often depicted as a stiff, leaning shuffle mimicking a corpse's unnatural movements. This originated from scenes in where Bernie is propped up and made to "dance" at a , and it spread through videos and social media starting around 2011. Professional athletes adopted the move in celebrations; for instance, running back performed it after a touchdown in 2011, drawing direct inspiration from the film's choreography. The baseball team embraced the trend during their 2012 season, incorporating the "Bernie Lean" into clubhouse antics and promotions, culminating in an event on September 1, 2012, where actor threw the and participated in themed activities. In music, the film's plot and visuals have been sampled or referenced in hip-hop. Rapper Berner released an album titled Weekend at Bernie's in 2009, drawing thematic parallels to the story's deceptive high-life antics, while Curren$y followed with his 2011 album Weekend at Burnie's, a play on the title incorporating concepts of excess and illusion into tracks. Additionally, the Insane Clown Posse song "I Found a Body" from the 2009 album Bang! Pow! Boom! features lyrics about discovering and dealing with a body, loosely mirroring aspects of the film's corpse narrative. Internet memes reviving clips of Bernie's dance proliferated post-2010, often juxtaposed with modern scenarios for comedic effect, further cementing the sequel's cultural footprint beyond its initial release.

Legacy and Recent Developments

Over the ensuing decades, Weekend at Bernie's II has cultivated a dedicated , particularly as nostalgia surged in the , with viewers embracing its quirky campiness, absurdity, and as a quintessential artifact of early . This appreciation has been amplified by robust home media performance, including strong sales on , DVD, and later streaming platforms, which kept the film accessible and introduced it to new generations long after its theatrical run. No official sequels have materialized beyond the 1993 film, despite persistent fan enthusiasm for a third installment that could revive the antics of Larry, Richard, and the undead Bernie. Various fan-driven campaigns and conceptual pitches have surfaced over the years, but as of November 2025, none have progressed to production, leaving the franchise's future uncertain. In recent years, the film's legacy has seen renewed attention through cast engagements and reflections on its era. In October 2024, stars , , and reunited for a panel at Nickel City Comic Con in , marking the 35th anniversary of the original film; they reminisced about the production's improvisational joy and noted how profits from the first entry directly enabled the sequel's creation. McCarthy's 2024 Hulu documentary Brats, which examines the Brat Pack's impact on cinema, indirectly evokes the transitional cultural vibe of early '90s comedies like Weekend at Bernie's II by contextualizing his career trajectory during that formative period. The movie stands as a hallmark of sequel strategies, where studios often escalated original premises with outlandish elements—like resurrection—to capitalize on proven formulas amid a boom in broad comedies. Its employment of the Hollywood trope, animating the corpse through a botched ritual, exemplifies and perpetuates comedic motifs that echoed in later farces, contributing to the genre's playful exploration of death and revival. The film's signature "Bernie dance" sequence persists as an enduring , occasionally resurfacing in contemporary pop culture references.

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