An eccentric, if not charming Southern professor and his crew pose as a band in order to rob a casino, all under the nose of his unsuspecting landlord: a sharp old woman.
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Rafael is the best salesman in the biggest department store of Madrid. He is a fascinating man; all his colleagues fell in love with him. He tries to live a high-standard life. He is ... See full summary »
Director:
Álex de la Iglesia
Stars:
Guillermo Toledo,
Mónica Cervera,
Luis Varela
Jimmy the Tulip's (Willis) quiet new life is shaken up by his old pal Oz (Perry), whose wife (Henstridge) has been kidnapped by a Hungarian mob. The Tulip and his wife Jill (Peet) spring into action.
A remake of the 1955 comedy, the story revolves around a Southern professor who puts together a group of thieves to rob a casino. They rent a room in an old woman's house, but soon she discovers the plot and they must kill her, a task that is more difficult than it seems. Written by
lcheala@imdb.com
Early in the movie while trying to illustrate to Professor Dor (Tom Hanks) all the different types of music they've had at the church-house, Marva Munson (Irma P. Hall) says that they even had a Jewish guitar player once back in the sixties. Though unconfirmed, one can only assume that Mrs. Munson is referring to the Jewish Canadian folk singer 'Leonard Cohen' who, in the sixties, was well known for his unique collaboration of poetic lyrics, deep sounding vocals, and Spanish flamenco guitar. See more »
Goofs
When Gawain pulls his gun on Garth in the Waffle House, the way he holds the gun differs between the camera angles. See more »
Quotes
[first lines]
Sheriff Wyner:
Unh... Oh! Afternoon, Miss Munson.
Marva Munson:
Afternoon, Sheriff. You know the Funthes boy?
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Crazy Credits
During the end credits the gospel choir is shown performing the end song. See more »
Certainly, the Cohens have enough decency to know when a task should be left undone, and when that task is the re-creation and improvement of a comedy classic,they know better than to regurgitate old gags infused with modern flair, or do they?
I will admit that I did enjoy this novel retelling of the Mackendrick classic. I enjoyed Hank's brilliant, earnest, and flawless delivery. I also enjoyed Irma P. Hall's sincerity. I enjoyed the score, the locale, the warm-lazy essence of Mississippi, and the mythological progression of events that is so common in the Cohens' films. Most of all, I enjoyed the charm of this film more-so than its predecessor.
Of course, in deference, the originators deserve their due praise, but this is certainly no simple remake--it's a retelling. Retellings don't need to improve, dazzle, or impress by comparison--they simply are what they are, and this was enjoyable.
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Certainly, the Cohens have enough decency to know when a task should be left undone, and when that task is the re-creation and improvement of a comedy classic,they know better than to regurgitate old gags infused with modern flair, or do they?
I will admit that I did enjoy this novel retelling of the Mackendrick classic. I enjoyed Hank's brilliant, earnest, and flawless delivery. I also enjoyed Irma P. Hall's sincerity. I enjoyed the score, the locale, the warm-lazy essence of Mississippi, and the mythological progression of events that is so common in the Cohens' films. Most of all, I enjoyed the charm of this film more-so than its predecessor.
Of course, in deference, the originators deserve their due praise, but this is certainly no simple remake--it's a retelling. Retellings don't need to improve, dazzle, or impress by comparison--they simply are what they are, and this was enjoyable.