A young boy whose parents have just divorced finds an unlikely friend and mentor in the misanthropic, bawdy, hedonistic war veteran who lives next door.
Bank teller Till Reiners' life is torn out of a rut by a series of offbeat coincidences, which ultimately lead him to find himself and realize: His life isn't so bad after all...
When patients' rights lawyer Colette Hughes goes to meet her new client, Eleanor Riese, a patient in the psychiatric unit of a San Francisco hospital, she has no idea that besides taking on... See full summary »
Director:
Bille August
Stars:
Helena Bonham Carter,
Hilary Swank,
Jeffrey Tambor
After being humiliated in the ring by a dirty kickboxer who pulled down his shorts and then hit him, a martial arts master decides to travel to China and enter a monastery where he may ... See full summary »
Vicki Maloney is randomly abducted from a suburban street by a disturbed couple. As she observes the dynamic between her captors she quickly realises she must drive a wedge between them if she is to survive.
Director:
Ben Young
Stars:
Emma Booth,
Ashleigh Cummings,
Stephen Curry
Vincent is an old Vietnam vet whose stubbornly hedonistic ways have left him without money or a future. Things change when his new next-door neighbor's son, Oliver, needs a babysitter and Vince is willing enough for a fee. From that self-serving act, an unexpected friendship forms as Vincent and Oliver find so much of each other's needs through each other. As Vincent mentors Oliver in street survival and other worldly ways, Oliver begins to see more in the old man than just his foibles. When life takes a turn for the worse for Vincent, both them find the best in each other than no one around them suspects.Written by
Kenneth Chisholm (kchishol@rogers.com)
Alternate titles for the film include: "St. Vin", "St. Vincent de Van Nuys", and "St. Vincent of Van Wyck Street". See more »
Goofs
When the priest is introducing Oliver and tells the class the Oliver is Jewish, a few children speak up about their religious beliefs. One says she is also Jewish, one says she's a Buddhist, and another says 'There is no God'. The priest refers to her as an agnostic. An agnostic believes that no one can know if there is a God or not. The proper term is atheist, that believes God does not exist. See more »
Quotes
[first lines]
Vincent:
So this Irish guy knocks on this lady's door and says, you know, "Have you got any, uh... Any, uh... work for me?" And she says, "Um, well, you now, as a matter of fact, you could paint the porch." 'Bout two hours later, the guy comes back and says, "I've finished, ma'am, but just for your information, it's not a porch, it's a BMW."
[bar patrons stunned]
See more »
Crazy Credits
The credits play over a scene with Vincent trying to have a cigarette in his backyard and then later watering the lawn. See more »
The old curmudgeon has been a screen staple from Lionel Barrymore to Walter Matthau to Jack Nicholson. Yet no one has played this type of character so well these many years as Bill Murray. Even as a young man, the actor brought with him that droll view of life, a wicked acerbic wit, and a unique ironic humor to his many film roles from Ghostbusters to Scrooge to Lost in Translation. So his portrayal in St. Vincent may not be much of a stretch for the actor, but it is wildly captivating performance that needs to been seen.
Yes, the story is far from original. Crotchety old man finds love and redemption by the love of a young kid who he befriends begrudgingly. Vincent is a drunk and a gambler. Yet, his new neighbor, Maggie (a subtle and convincing Melissa McCarthy), hires him to babysit her son, Oliver (Jaeden Lieberher), while she is at work making ends meet. Now right there, one questions the entire sit-com set-up and implausible story of the film, but one goes along with the preposterous notion for sheer entertainment purposes.
Placing Mr. Murray in that pivotal role is the force that binds this story together. He is both charming and repulsive in this part and the actor is an absolute comic delight. Vincent's the man-child, a boy who never grew up, a loner who survives from day to day and Murray nails his character. His droll asides when taking his young charge to a bar or racetrack, or cavorting with strippers and other unsavory persons are key to the film's enjoyment, as is his wonderful chemistry with Master Lieberger, who gives a natural and lovely performance as a child who seems to have more common sense than any of the adults in this film.
St. Vincent is an auspicious film debut by director/ writer Theodore Melfi. While his initial premise is spotty, the filmmaker more than acquits himself with his funny script and fine casting. Rounding out this wonderful trio of actors are Chris O'Dowd, Terrence Howard, and especially Naomi Watt as a Russian call girl with a heart of platinum. The entire ensemble delivers their lines with brutal accuracy and delicious comic timing, even if the film leads to a rather mawkish and sappy ending that some may find to be poignant. One just can't help relishing in the overall fun.
Technically, Melfi needs to learn more restraint as a director. He tends to overuse pop songs to reinforce his message and overdoes many scenes with melodramatic spurts. As a writer, he creates effective dialog mixed with one-liners that, at least, stay true to his well-written characters. But his plot structure is too conventional and simple in every sense of the word. He may easily achieved his goal in making a crowd-pleasing film, even if it lays on the pathos a bit thickly. And from the reaction of the moviegoers in my audience, the film scored highly amid the audible aahs and sniffles to my left and right. It doesn't merely tug at the heartstrings, it plays two part harmony too.
In truth, St. Vincent owes so much of its success to a small blessing known as Mr. Murray. It is his compelling presence that is the main attraction on display, and on that, everybody can rejoice! GRADE: B
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This film is recommended.
The old curmudgeon has been a screen staple from Lionel Barrymore to Walter Matthau to Jack Nicholson. Yet no one has played this type of character so well these many years as Bill Murray. Even as a young man, the actor brought with him that droll view of life, a wicked acerbic wit, and a unique ironic humor to his many film roles from Ghostbusters to Scrooge to Lost in Translation. So his portrayal in St. Vincent may not be much of a stretch for the actor, but it is wildly captivating performance that needs to been seen.
Yes, the story is far from original. Crotchety old man finds love and redemption by the love of a young kid who he befriends begrudgingly. Vincent is a drunk and a gambler. Yet, his new neighbor, Maggie (a subtle and convincing Melissa McCarthy), hires him to babysit her son, Oliver (Jaeden Lieberher), while she is at work making ends meet. Now right there, one questions the entire sit-com set-up and implausible story of the film, but one goes along with the preposterous notion for sheer entertainment purposes.
Placing Mr. Murray in that pivotal role is the force that binds this story together. He is both charming and repulsive in this part and the actor is an absolute comic delight. Vincent's the man-child, a boy who never grew up, a loner who survives from day to day and Murray nails his character. His droll asides when taking his young charge to a bar or racetrack, or cavorting with strippers and other unsavory persons are key to the film's enjoyment, as is his wonderful chemistry with Master Lieberger, who gives a natural and lovely performance as a child who seems to have more common sense than any of the adults in this film.
St. Vincent is an auspicious film debut by director/ writer Theodore Melfi. While his initial premise is spotty, the filmmaker more than acquits himself with his funny script and fine casting. Rounding out this wonderful trio of actors are Chris O'Dowd, Terrence Howard, and especially Naomi Watt as a Russian call girl with a heart of platinum. The entire ensemble delivers their lines with brutal accuracy and delicious comic timing, even if the film leads to a rather mawkish and sappy ending that some may find to be poignant. One just can't help relishing in the overall fun.
Technically, Melfi needs to learn more restraint as a director. He tends to overuse pop songs to reinforce his message and overdoes many scenes with melodramatic spurts. As a writer, he creates effective dialog mixed with one-liners that, at least, stay true to his well-written characters. But his plot structure is too conventional and simple in every sense of the word. He may easily achieved his goal in making a crowd-pleasing film, even if it lays on the pathos a bit thickly. And from the reaction of the moviegoers in my audience, the film scored highly amid the audible aahs and sniffles to my left and right. It doesn't merely tug at the heartstrings, it plays two part harmony too.
In truth, St. Vincent owes so much of its success to a small blessing known as Mr. Murray. It is his compelling presence that is the main attraction on display, and on that, everybody can rejoice! GRADE: B