As youths in Azusa, Vinnie, Carter, and Rosie pull off a racing scam, substituting winners for plodders and winning big bucks on long odds. When an official uncovers the scam, they set him ... See full summary »
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Carol Ann MacKay is a fine, popular nurse at a retirement home, and spends her free time with her hunky athletic husband Wayne MacKay, who was the star of her school's football team when ... See full summary »
Director:
Marek Kanievska
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Dermot Mulroney
An ultraconservative police officer (DeNiro) suffers a debilitating stroke and is assigned to a rehabilitative program that includes singing lessons - with the drag queen next door.
Director:
Joel Schumacher
Stars:
Robert De Niro,
Philip Seymour Hoffman,
Barry Miller
A miserable conman and his partner pose as Santa and his Little Helper to rob department stores on Christmas Eve. But they run into problems when the conman befriends a troubled kid, and the security boss discovers the plot.
Director:
Terry Zwigoff
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Lauren Graham,
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In 1930s Chicago, a young con man seeking revenge for his murdered partner teams up with a master of the big con to win a fortune from a criminal banker.
A world-weary police detective who fails to stop a fast-food restaurant massacre struggles to regain his departmental reputation, public image and self-worth.
Aspiring comic Rupert Pupkin wants to achieve success in showbiz, by resorting to stalking his idol, a late night talk show host who craves his own privacy.
Director:
Martin Scorsese
Stars:
Robert De Niro,
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When unemployed dockworker Joey Coyle finds $1.2 million that fell off of an armored car, he decides to do the logical thing: take the money and run. After all, he says, finders keepers. He... See full summary »
Three sisters with quite different personalities and lives reunite when the youngest of them, Babe, has just shot her husband. The oldest sister, Lenny, takes care of their grandfather and ... See full summary »
As youths in Azusa, Vinnie, Carter, and Rosie pull off a racing scam, substituting winners for plodders and winning big bucks on long odds. When an official uncovers the scam, they set him up for blackmail. Jump ahead twenty years, Carter and Rosie are married, successful racers in Kentucky about to sell their prize stallion, Simpatico. Vinnie is a drunk in Pomona. Vinnie decides to make a play for Rosie, lures Carter to California, steals his wallet and heads for Kentucky with the original blackmail material. Carter begs Vinnie's friend, a grocery clerk named Cecilia, to follow Vinnie and get the stuff back that he has in a box. Will she succeed? Written by
<jhailey@hotmail.com>
Somewhere buried deep inside the mess that is `Simpatico' there lurk the makings of a pretty decent little love story. Unfortunately, one would have to eliminate pretty much the entire main storyline and all the major characters in order to find it.
This tale of `three people caught in a web of their own making' is so thoroughly inept, overwrought and inconsequential that it seems more like a parody of film noir than a serious entry in the genre. The crime that these three people perpetrated in their youth the one that keeps coming back to haunt them in their approaching middle-age - seems a piddling one at best for a film of this type. An even more serious problem is that the three lead performers seem stuck in roles that have come to define their métier as actors. Nick Nolte, for instance, plays his customary down-and-out, barely-teetering-on-the-edge-of-sanity middle aged loser whose capricious nature makes him forever a threat to the security of the group, while Jeff Bridges portrays the common sense, constantly put-upon ringleader who just wants to forget all about the past but who has a hard time keeping a leash on the unpredictable Nolte. Sharon Stone completes the trio as Bridges' now moody, alcoholic wife a pale imitation of her much more meaty role in Martin Scorcease's `Casino.' Stone's over-the-top thespian simpering reduces the (fortunately) few scenes she is in to the level of unintentional high comedy. Moreover, in their attempt to provide a dual level structure to their tale crosscutting scenes of the past with scenes of the present the filmmakers have been forced to employ actors who look nothing like their contemporary counterparts. The result is, initially, confusing and, ultimately, quite ludicrous.
What is most strange about `Simpatico' is that, while the story itself fizzles and the audience could care less what happens to these three whining, puling, muking central characters, writer/director Matthew Warchus and co-author David Nicholls somehow manage to create a back story and two minor characters who engage both our sympathy and our interest. These come in the form of the always splendid Albert Finney as the man our intrepid band of halfwit con men managed to entrap into an extortion scheme twenty years earlier, and the charming Catherine Keener as the highly principled grocery store cashier who finds herself unwittingly a pawn in Bridges' plot to rein Nolte in. Finney and Keener provide so much warmth and humanity in their few scenes together that we find ourselves regretting that the film does not revolve around them entirely. Wisely, after we wheeze our way through all the hullabaloo and nonsense necessary to bring the main plot to its ludicrous conclusion, Warchus closes the film with a coda focused on these two winning characters. The finale, in some inexplicable way, seems more like a beginning than an ending and we find ourselves wanting to see what happens to this offbeat, likeable couple. By wasting our time concentrating on the Nolte/Bridges/Stone triumvirate of insipidity, the filmmakers end up making us feel even more resentful in the long run. Like the victims of the trio's racetrack shenanigans, we feel robbed!
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Somewhere buried deep inside the mess that is `Simpatico' there lurk the makings of a pretty decent little love story. Unfortunately, one would have to eliminate pretty much the entire main storyline and all the major characters in order to find it.
This tale of `three people caught in a web of their own making' is so thoroughly inept, overwrought and inconsequential that it seems more like a parody of film noir than a serious entry in the genre. The crime that these three people perpetrated in their youth the one that keeps coming back to haunt them in their approaching middle-age - seems a piddling one at best for a film of this type. An even more serious problem is that the three lead performers seem stuck in roles that have come to define their métier as actors. Nick Nolte, for instance, plays his customary down-and-out, barely-teetering-on-the-edge-of-sanity middle aged loser whose capricious nature makes him forever a threat to the security of the group, while Jeff Bridges portrays the common sense, constantly put-upon ringleader who just wants to forget all about the past but who has a hard time keeping a leash on the unpredictable Nolte. Sharon Stone completes the trio as Bridges' now moody, alcoholic wife a pale imitation of her much more meaty role in Martin Scorcease's `Casino.' Stone's over-the-top thespian simpering reduces the (fortunately) few scenes she is in to the level of unintentional high comedy. Moreover, in their attempt to provide a dual level structure to their tale crosscutting scenes of the past with scenes of the present the filmmakers have been forced to employ actors who look nothing like their contemporary counterparts. The result is, initially, confusing and, ultimately, quite ludicrous.
What is most strange about `Simpatico' is that, while the story itself fizzles and the audience could care less what happens to these three whining, puling, muking central characters, writer/director Matthew Warchus and co-author David Nicholls somehow manage to create a back story and two minor characters who engage both our sympathy and our interest. These come in the form of the always splendid Albert Finney as the man our intrepid band of halfwit con men managed to entrap into an extortion scheme twenty years earlier, and the charming Catherine Keener as the highly principled grocery store cashier who finds herself unwittingly a pawn in Bridges' plot to rein Nolte in. Finney and Keener provide so much warmth and humanity in their few scenes together that we find ourselves regretting that the film does not revolve around them entirely. Wisely, after we wheeze our way through all the hullabaloo and nonsense necessary to bring the main plot to its ludicrous conclusion, Warchus closes the film with a coda focused on these two winning characters. The finale, in some inexplicable way, seems more like a beginning than an ending and we find ourselves wanting to see what happens to this offbeat, likeable couple. By wasting our time concentrating on the Nolte/Bridges/Stone triumvirate of insipidity, the filmmakers end up making us feel even more resentful in the long run. Like the victims of the trio's racetrack shenanigans, we feel robbed!