Film

Weekend at Bernie's II

Name: Weekend at Bernie's II
Genre: Comedy, Crime, Adventure
Released: 1993
Cast: Andrew McCarthy, Jonathan Silverman, Terry Kiser, Troy Byer, Barry Bostwick

Comedy
Crime
Light-hearted

A corpse comedy sequel where two working stiffs drag their dead boss to the Caribbean to find his hidden embezzled fortune. It's broad physical humor, tropical hijinks, and the increasingly absurd logistics of Weekend at Bernie's escalated. For viewers who loved the first film's premise and want more of the same with added voodoo and higher stakes—it doesn't reinvent anything, but it leans into what worked.

TMDb rating

2.6

Should you watch it?

Watch it if you enjoy broad, lowbrow slapstick where the joke is a corpse being propped up and hauled through increasingly absurd set pieces, and you're happy to laugh at the sheer nerve of it.

Skip it if you need sharp dialogue or a plot that holds together, since the comedy leans on repetition and pratfalls and the logic gets stretched thin very quickly.

What it asks of you: Ninety-seven minutes of light, goofy momentum with little to chew on; switch off your expectations for realism and let the gags do the work.

Not sure? Find tonight's pick in a minute.

If you liked this

Weekend at Bernie's1989

The original that made the premise work. Two guys pretend their boss is alive at a beach house for a weekend. Perfect blend of slapstick, situational comedy, and charm that makes the whole ridiculous setup feel effortless.

But It's very much a late-80s comedy; the humor is broad and sometimes lands unevenly. If you need smarter material, this won't convert you.

Beetlejuice1988

Another Tim Burton film where death becomes a playground for comedy. Michael Keaton steals every scene, the production design is inventive, and it balances genuine scares with genuine laughs in a way that feels lived-in.

But It's darker and weirder than Weekend at Bernie's. If you want straightforward buddy comedy, you might find the horror elements intrusive.

Ghostbusters II1989

Reunites the original cast for supernatural shenanigans in New York. Keeps the charm and humor of the first while upping the stakes. Peter MacNicol's performance as the possessed janitor is worth the price alone.

But Doesn't have the spark of the original, and the plot feels more formulaic. Some jokes land harder than others.

Not sure tonight? Get a pick in a minute, starting from Weekend at Bernie's II

The wildcard

Something you would not have found on your own.

The Trouble with Harry1955

Both films center on a corpse that becomes a comedic obstacle course rather than an ending. Both understand that the best death comedy isn't about being macabre—it's about the logistics of pretending otherwise.

Hitchcock made a comedy about a corpse that won't stay buried in a small Vermont town. Everyone keeps moving the body, the tone is deadpan and warm, and it treats death as an inconvenience rather than a tragedy. It's the blueprint for Weekend at Bernie's, just elegant and humane.

But It's a Hitchcock film from the 1950s, so it moves quietly and expects patience. Modern audiences raised on faster comedies often find it slow.

Coming to America1988

Eddie Murphy is a prince pretending to be broke in Queens. Stacked with an incredible supporting cast, quotable lines, and a genuine warmth under the comedy. The barber shop scenes alone make it essential.

But Very 1980s in its sexual politics and racial humor; some bits don't age perfectly. It's also quite long and occasionally meanders.

Midnight Run1988

Robert De Niro and Charles Grodin as a bail bondsman and accountant on the run across America. The chemistry is electric, the banter is sharp, and it manages to be both funny and surprisingly touching without losing momentum.

But It's more of a buddy crime-caper than pure comedy. If you need constant laughs, the dramatic stretches might feel slack.

Trading Places1983

Eddie Murphy and Dan Aykroyd as a con man and a commodities broker who swap lives as a wealthy bet. Sharp satire dressed up as a heist comedy, with genuine surprises and terrific ensemble work.

But The satire can feel dated now, and some of the humor relies on 80s attitudes. The plot gets convoluted in the third act.

Throw Momma from the Train1987

Billy Crystal and Danny DeVito as writers who bond over murder fantasies. Incredibly quotable, lovingly absurd, and both leads commit fully to the madness. It's a comedy that understands rhythm.

But The humor is very specific and aggressive; if it's not your wavelength, it'll feel one-note. Some gags wear out their welcome.

The In-Laws1979

Peter Falk and Alan Arkin as an accountant and a CIA operative thrown together before their kids' wedding. Rapid-fire dialogue, genuine chemistry, and a plot that spirals into anarchic spy-comedy chaos without losing coherence.

But It's very of its era—fast-paced in a way that can feel exhausting. The pacing doesn't give you much room to breathe.

Dead Men Don't Wear Plaid1982

A film noir parody in black and white where Steve Martin plays a detective investigating a femme fatale. It's clever without being smug, lovingly mimics the genre, and has genuine wit underneath the pastiche.

But Nostalgia jokes and genre affection can feel hollow if you don't know what's being parodied. Some humor is very cerebral for a comedy.

The Lair of the White Worm1988

Both are 80s/90s films that embrace the comedy in their own absurdity without apologizing. Bernie's II knows it's ridiculous; The Lair of the White Worm knows it's flagrant. They share a refusal to wink or explain themselves.

Ken Russell's delirious adaptation of Bram Stoker's novella, where Amanda Donohoe plays a serpent woman seducing her way through a castle. It's garish, sensual, completely unhinged, and has more genuine atmosphere than most horror films—all wrapped in rubber and camp.

But It's proudly trashy and sexual in ways that feel aggressive. The plot barely holds together and it's almost aggressively weird in service of its own vision.

Eat Drink Man Woman1994

Both are ensemble comedies where the pleasure comes from watching people navigate impossible situations with loyalty and improvisation. Both understand that friendship and family obligation are the real plot, and everything else is just what happens while you're making other plans.

Ang Lee's Taipei family dramedy where food and relationships are inseparable. Four sisters navigate love, duty, and their aging father's sexuality over meals that are themselves a kind of narrative. It's warm, funny, deeply felt, and about people choosing what matters.

But It's a subtitled Taiwanese film about family obligation and aging parents—not the obvious sequel to a corpse comedy. The emotional register is sincere in ways Weekend at Bernie's isn't.