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If that last part sounds familiar, it’s because it’s one of several plot elements Dumb And Dumber To lifts almost wholesale from its predecessor. As if going down a checklist, the writers supply another MacGuffin, another impossible dream girl, and another put-upon travel-mate with malicious intentions. (Riggle, in the Mike Starr role, is himself too outrageous to properly play straight man.) More dispiriting than the narrative plagiarism are the endless callbacks, the fan-service repetition of old gags; rather than pen new material, the writers simply rely on the presumed vicarious humor of seeing Carrey blow mouth spray in the wrong direction again. Here’s Petey the blind man. There’s the second most annoying sound in the world. And if one elaborate fantasy sequence is funny, two will really kill, right?

Sweetness has always been the secret weapon of the Farrellys, lowbrow comedy auteurs whose warm humanism has steadily eclipsed their taste for dick and fart jokes. As if making up for lost time—or perhaps testing the limits of the PG-13 rating, which are apparently quite elastic—Dumb And Dumber To proudly, dramatically tips the scale back in favor of showboating grotesquerie. Testicles are torn off. Bodily fluids are consumed. The literally dusty nether-regions of elderly women are probed. There’s something admirable, now and perhaps forever, about the Farrellys’ tireless swipes for the gag reflex. But the filmmakers usually invest their bad taste with a good nature; Dumb And Dumber To is weirdly mean-spirited, trotting out gay-panic jokes and AIDS zingers, while severely overdoing Lloyd’s cradle-robbing intentions toward his buddy’s dimwitted daughter.

For fans of the original, which was a true high-water mark in Hollywood buffoonery, it may be tough to resist the charm of seeing these two actors play stupid again—and both Carrey and Daniels slip into their old chemistry with uncanny ease. But the buzz wears off quickly, harshed as it is by the increasingly sad spectacle of two fiftysomething movie stars acting like horny, leering teenagers. When, during a science conference, Harry and Lloyd shout “show us your tits” in unison at a young woman onstage, it becomes clear that the characters are now less guileless nincompoops than dirty old men. This time around, they’re gross (and dumb) in all the wrong ways.