Harry Valentini and Moe Dickstein are both errand boys for the Mob. When they lose two hundred fifty thousand dollars, they are set up to kill each other. But they run off to Atlantic City, and comedy follows.
Keith Gordon is a creative young man who films the oddball doings of his family and peers. "The Maestro" appears frequently to give him pointers on his techniques. It's almost a film about ... See full summary »
Harry Valentini and Moe Dickstein are goons for the Newark mob boss Castelo. They are sent to the race track to place a bet on a horse but screw it up by betting on the wrong horse. Now they owe $250,000 but they separately get an offer to work it off; by killing the other one. Together they go off to Atlantic City where Harry's mobster uncle Mike may be able to bail them out.Written by
When Bobby DiLea shows up at the hotel room, Moe is in the hot tub getting his hair washed, but in the next shot he is at the door completely dried off and wearing a red robe. See more »
Hey Harry, what happened to your face?
What, this? This happens to be a tropical tan.
Oh really? I thought it was hepatitis.
[laughs from crowd]
So you really went to Puerto Rico, huh?
Jamaica! We don't go to Puerto Rico anymore, it's passe.
You went too Moe? You look a little pale.
Yeah, well... you know. I'm not the sun worshipper that Harry is. I saw a lot of "indoor" activity, if you know what I mean.
Oh yeah? Doin' what? Watchin' TV?
[laughs again from crowd]
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Mildly enjoyable diversion seems grossly out of place it De Palma's canon. The premise is interesting - two loser hoodlums (Danny DeVito and Joe Piscapo) try to screw over a mob boss and end up getting hunted down. However, it is never particularly funny and the story isn't really that interesting. De Palma's directorial mastery is nowhere to be seen here - the direction is competent but the script never really gives him a chance to demonstrate his skills. Not as bad as some make it out to be, but certainly a failure, especially considering that it came between Body Double and Casualties of War, two of De Palma's best films.
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