Jon Lucas and Scott Moore, the screenwriting duo behind The Hangover nearly two decades ago, have reunited to direct and write Spa Weekend, a film that attempts to flip the script on their original success by centering on middle-aged women at a luxury resort rather than men on a bachelor party. Despite assembling a cast that includes Leslie Mann, Anna Faris, and Isla Fisher, the film emerges as a comedy that struggles to generate genuine humour, instead opting for sentiment over wit.
The premise follows three childhood friends whose spa retreat takes an unexpected turn when a fourth woman, Mel, joins them. Mann portrays Jane, a high-powered lawyer who has sacrificed romantic relationships for her career. Faris plays Sophie, a personal assistant to a wealthy employer, while Michelle Buteau takes on the role of Coco, a woman grappling with anger over her ex-husband's new relationship. Isla Fisher is cast as Mel, a character written as a free-spirited wild child whose unfiltered honesty is meant to catalyse emotional breakthroughs for the group. The ensemble is rounded out by cast members including Dominic Ona-Ariki and Erika Heynatz. Adam Demos appears as Kai, a yoga instructor positioned as a romantic interest for Mann's character.
The film's central conceit—that one member of the friend group might be genuinely disliked—held promise as a source of comedic tension. However, the screenplay abandons this potentially sharp premise in favour of a more sentimental resolution. Rather than maintaining the edge that made The Hangover's treatment of Zach Galifianakis's character compelling, Spa Weekend pivots toward reassurance and emotional validation. The result is a narrative that prioritises warmth over comedy, leaving the film tonally confused about whether it aims to entertain through humour or through feel-good messaging.
The film's approach reflects a broader creative choice to avoid anything resembling genuine meanness or flippancy. Where The Hangover thrived on uncomfortable situations and character flaws, Spa Weekend retreats into safety. The high-jinks on display throughout feel strenuous rather than organic, and the comedy rarely lands with any real impact. The luxury-hotel setting, which could have provided visual comedy or satirical opportunities, instead becomes merely a backdrop for scenes that prioritise emotional beats over laughs.
According to a U.S. entertainment outlet, the film frames its narrative around women learning to stop apologising for their needs, a thematic anchor that underscores its sentimental rather than comedic priorities. The film carries an R rating for drug use, sexual material, and language throughout, and runs for 97 minutes.
How does this compare to The Hangover?
The original Hangover succeeded by embracing chaos and character dysfunction without requiring redemption or emotional resolution. Spa Weekend attempts a female-centred inversion of that formula but fundamentally misunderstands what made the original work. Where The Hangover allowed its characters to remain flawed and ridiculous, Spa Weekend insists on transforming its characters through friendship and self-discovery. This shift from comedy to drama undermines the film's ability to generate laughs, replacing them with the kind of emotional catharsis more suited to a different genre entirely.
Release schedule and availability
The film arrived in Australian cinemas on 20 August 2026, with simultaneous releases in the United Kingdom and United States on 21 August 2026. According to UK entertainment coverage, the film was distributed through Black Bear Pictures. A later theatrical release in the Netherlands followed on 27 August 2026.
Key facts
- Directed and written by Jon Lucas and Scott Moore, who previously collaborated on The Hangover and Bad Moms
- Stars Leslie Mann, Anna Faris, Isla Fisher, and Michelle Buteau in the lead roles, with Adam Demos as a yoga instructor
- Rated R for drug use, sexual material, and language; runtime 97 minutes
- Released 20–21 August 2026 across Australia, UK, and US territories
- Prioritises emotional sentiment over comedic timing, undermining its potential as a comedy
