Four former made men, struggling to get by in a rundown Miami hotel, come up with a plot to drive out all of the young tenants that are slowly taking over the beach-front hotel and driving up their rent. Taking a man that was found dead on the beach, they arrange what appears to a mob hit and provide a note that says more killings are to occur. Unfortunately the old man they use turns out to be the senile father of a drug lord. The drug lord declares war on the killers of his father, thinking it was an action of his enemies. A stripper learns of the old men's involvement and threatens to squeal on them unless they kill her stepmother. Meanwhile, one man searches for his long-lost daughter, who is the investigating police officer, trying to divest herself from her crumb fellow officer and former boyfriend. Written by
John Sacksteder <firstname.lastname@example.org>
When Joey's head is pushed into the toilet, the water is clear when seen from below. However, when the scene is shown from overhead, the water is bright blue, as is the water that Joey spits out. See more »
So much promise, yet so little achievement was the enduring impression left on me after watching this comedy. A group of ageing ex-con artists conjure an imaginative, yet flawed plot to save their Miami retirement home from soaring rents by using the body of a dead neighbour to scare away potential residents. When the dead man's son (Sandoval) emerges to take vengeance on those responsible for his death, they use their collective criminal experience to dodge the attempted retributions.
Dreyfuss, Reynolds, Cassel and Hedaya probably weren't quite old enough to convince me that they were geriatrics, relying on props to affect the age (hearing aids etc) although Reynolds did a great impression of someone who'd lost his marbles. His near-death epiphanies lead to several hair-brained schemes while Dreyfuss' main angle is assisting the local police investigating the death, the female detective (Moss) unaware the she is his daughter. She mistakes his kindly advances as those of a dirty old man, while Dreyfuss is trying to work out how to confess to the ruse, and still reconcile with the daughter neither knew existed. Moss is stunning and it's almost inconceivable that the Pivster (Piven) is both her detective partner and boyfriend from whom she's estranged. Must be low self esteem...
Slapstick, sentimental comedy has its moments and an appealing cast but never quite hit the notes I was expecting, all things considered. Easy, lightweight viewing.
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