After her triumph at the Miss United States pageant, FBI agent Gracie Hart becomes an overnight sensation — and the new “face of the FBI”. But it’s time to spring into action again when the pageant’s winner, Cheryl, and emcee, Stan, are abducted.

Credits: TheMovieDb.

Film Cast:

• Gracie Hart: Sandra Bullock
• Sam Fuller: Regina King
• Jeff Foreman: Enrique Murciano
• Stan Fields: William Shatner
• Carol Fields: Eileen Brennan
• Harry McDonald: Ernie Hudson
• Janet McKaren: Elisabeth Röhm
• Karl Steele: Nick Offerman
• Lou Steele: Abraham Benrubi
• Walter Collins: Treat Williams
• Cheryl Frasier: Heather Burns
• Joel Meyers: Diedrich Bader
• Octavia – Bookstore: Octavia Spencer
• Pam: Leslie Grossman
• Mr. Grant: David Proval
• Agent Clonsky: John DiResta
• Mother in Bank: Audrey Wasilewski
• Tom Abernathy: Stephen Tobolowsky
• Regis Philbin: Regis Philbin
• Joy Philbin: Joy Philbin
• Dolly Parton: Dolly Parton
• Agent Tobin: Susan Chuang
• Bartender: Adam LeFevre
• Bar Patron # 2: Richard DeDomenico
• Tourist Woman: Cynthia Pepper
• Shirley: Megan Cavanagh
• Elizabeth Taylor Impersonator: Brad Grunberg
• Patti LaBelle Impersonator / Tina Turner Impersonator #2: Larry Edwards
• Mrs. Gordon: Roxana Ortega
• Dolly Parton Impersonator: Todd Sherry
• Young Man: Max Shippee
• Drag Club Dancer: Christian Vincent
• Gate Agent: Emy Coligado
• Roberto Fenice: Marcelo Tubert
• Agent Hills: Vic Chao
• Rachel: Rachel Iverson
• Housewife # 2: Eve Gordon
• Bank Customer: Marjorie Lovett
• Punk Girl in Bank: Michelle Page
• Janine: Lusia Strus
• Agent Jenkins: William O’Leary
• Drag Club Dancer: Ayesha Orange
• Man in Crowd: Tim Clark
• Dolly Parton’s Assistant: Mary Ann Price
• Venetian Singer #2: Tracy Elizabeth Blackwell
• Reporter #2a: Susan Leslie
• Fan Girl: April Blanchette
• Hotel Guest: Rose Davidson
• Dealer: Rebecca Engel
• Dolly Parton fan: Anna Wendt
• Housewife #1: Faith Minton
• Asian Tourist Husband: Lloyd Kino
• Priscilla: Molly Gottlieb
• Tourist (uncredited): Billie Perkins

Film Crew:

• Executive Producer: Bruce Berman
• Casting: Nancy Foy
• Set Decoration: Leslie E. Rollins
• Second Unit Director: Jack Gill
• Foley Mixer: Marilyn Graf
• Production Design: Maher Ahmad
• Costume Design: Deena Appel
• Makeup Artist: Robin Beauchesne
• Stunts: Erik Stabenau
• Producer: Sandra Bullock
• Director of Photography: Peter Menzies Jr.
• Producer: Marc Lawrence
• Assistant Art Director: Austin Gorg
• Editor: Garth Craven
• Art Direction: Andrew Max Cahn
• Music: John Van Tongeren
• Director: John Pasquin
• Unit Production Manager: Mary McLaglen
• Screenplay: Katie Ford
• Screenplay: Caryn Lucas
• Prosthetics: Gary Archer
• Construction Coordinator: Bryan Belair
• Underwater Camera: Peter Zuccarini
• Post Production Supervisor: Susan E. Novick
• Pilot: Al Cerullo
• ADR Mixer: Troy Porter
• Color Timer: David Orr
• Set Medic: Jeffrey D. Stevens
• ADR Recordist: Greg Zimmerman
• Stunts: Danny Epper
• Camera Operator: Christopher Duskin
• Stunts: Andy Gill
• Property Master: Russell Bobbitt
• Music Editor: Richard Ziegler
• Supervising Sound Editor: Bruce Stambler
• Foley Artist: John Roesch
• First Assistant Director: K.C. Colwell
• Key Makeup Artist: Ann Masterson
• Costume Supervisor: Lori DeLapp
• Set Designer: Daniel R. Jennings
• Sound Re-Recording Mixer: Kevin E. Carpenter
• Sound Re-Recording Mixer: David E. Campbell
• Music Editor: John Finklea
• Boom Operator: Anthony Ortiz
• Chief Lighting Technician: Andy Ryan
• Special Effects Coordinator: Allen Hall
• Foley Artist: Gregg Barbanell
• Sound Re-Recording Mixer: Steve Pederson
• Still Photographer: Frank Masi
• Script Supervisor: Sharon Cingle
• Supervising Sound Editor: Paul Curtis
• Sound Effects Editor: Bernard Weiser
• Foley Artist: Alyson Dee Moore
• Underwater Director of Photography: Pete Romano
• Camera Operator: Chris Haarhoff
• Unit Publicist: Peter J. Silbermann
• Production Coordinator: Candice D. Campos
• Hair Department Head: Kim Santantonio
• Aerial Director of Photography: Steve Koster
• ADR Mixer: Greg Steele
• Supervising ADR Editor: Becky Sullivan
• Key Hair Stylist: JoAnn Stafford-Chaney
• Leadman: Jonathan Bobbitt
• Choreographer: Fatima Robinson
• Sound Effects Editor: Steve Nelson
• Production Secretary: Sean Gowrie
• Steadicam Operator: Gregory Lundsgaard
• Sound Effects Editor: Stephen P. Robinson
• Hairstylist: Ketty Gonzalez
• Art Direction: Greg Richman
• Makeup Supervisor: Pamela S. Westmore
• Storyboard Artist: Dan Sweetman
• Art Department Coordinator: Randy Bobbitt
• Music Supervisor: John Houlihan
• Sound Effects Editor: Paul Aulicino
• Key Costumer: Ann Foley
• Sound Mixer: Michael Barosky
• Sound Mixer: Mark Weingarten
• Assistant Sound Editor: Patrick Cusack
• Set Medic: Ahmed Saker
• Production Accountant: Chris Furia
• Extras Casting: Chad Darnell
• Second Second Assistant Director: Craig Comstock
• Assistant Production Coordinator: Mark Swenson
• Second Assistant Director: Paula Case
• Boom Operator: Lawrence L. Commans
• Negative Cutter: Mo Henry
• Foley Editor: Jonathan Klein
• Key Grip: C. Alan Rawlins
• Camera Operator: Cynthia Pusheck
• Boom Operator: Mark Fay
• Assistant Editor: Kristen Young
• First Assistant Editor: Herbert Dwight Raymond IV
• Extras Casting: Kim Ju
• Assistant Makeup Artist: Kelly Belmonte
• Assistant Chief Lighting Technician: Andy Dorowsky
• Assistant Editor: Daniel Craven
• Pilot: Wayne Cerullo
• Pilot: Tom Schaus

Movie Reviews:

• Filipe Manuel Neto: **Despite Bullock and King’s good performances, the film is frankly predictable and never really gets interesting.**
• I enjoyed _Miss Congeniality_, despite the various issues and problematic points I talked about in my review of that film, and I hoped that, at least, this sequel (which is far from being the second part of a bigger film, like Sandra Bullock said she faced all this) would be able to match the original film. Let’s be fair, it had everything to achieve this: in addition to keeping the same protagonist and having a script that linked directly to its predecessor, the film kept part of the original crew and cast. Well, I’m sorry, but I feel that those expectations were disappointed: the film is not so bad, but it is below what I expected to find.
• The problem starts with the script: it’s a very underdeveloped and basic story, despite starting from a promising initial premise. Marc Lawrence, who has worked on the previous film, just couldn’t do any better. If the first film was guided by the exaggeration of the story, this one proved to be predictable and has ideas that simply don’t work, such as seeing two federal agents, posted outside their area of origin, and who have the luxury of disobeying blatantly to superior orders without this earning them an immediate suspension and the handing over of their weapons and badges. What the movie does is almost make fun of the FBI (well, sometimes they deserve it). Another problem is the melodrama that the protagonist lives after the end of her romance, which started in the previous film. This is irritating enough to prevent us from sympathizing more with the character, who is saved “in extremis” by the baggage of previously acquired sympathy.
• Sandra Bullock is, frankly, the best asset present in this film. She was not only the producer but also the protagonist and, once again, she offers us a job well done, full of commitment, charm and charisma. Regina King also does quite well as a tough federal agent with anger management issues. The collaboration between both actresses is excellent, and the scenes they both star in are among the best in the film, particularly when they don’t understand each other. Heather Burns and William Shatner also return for this film, in their respective roles, but the truth is that they have little to do and don’t particularly stand out, apart from the demerit of other actors. Treat Williams tries but fails to do much more than he does, Diedrich Bader is very irritating in the role of a brazen homosexual with cross-dressing aspirations, and the two villains are never credible or exude any sense of real threat.
• On a technical level, the film is on average, and that can be evaluated by the cinematography, editing and choice of sets or visual and sound effects. It’s not a film where the production has invested a lot in technical issues. The soundtrack also leaves a lot to be desired and doesn’t bring any theme or song that stays in the ear. The film’s pace is slower than would be desirable, but I wonder if the plot, so confused and disordered, would perhaps allow the adoption of a faster pace without a significant loss of the intelligibility of the story. The humor is quite clever at times, but it barely strays from the conventional family sitcom jokes, puns, wordplay and physical humor (nothing against it, it’s humor more suited to a family movie, and I recognize that). The costumes have some interesting ideas, but they don’t go beyond what was expected to find.