Year End Blooper Reel

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Take 2 Review: Stand Up Guys

By Arthur Ryan


In 1986 Touchstone Pictures released an aging buddy-comedy called, "Tough Guys" starring Burt Lancaster and Kirk Douglas. In it, Burt and Kirk played two recently released ex-cons who must adapt to the modern and ever-changing world outside the prison yard. It was a funny little movie with great charm thanks to it's stars who overcame the simple and at times juvenile aspects of the script.

This past weekend while watching the new film, "Stand Up Guys" starring Al Pacino and Christopher Walken, it all seemed a little familiar.

In "Stand Up Guys", Pacino plays Val, a small-time crook who took the wrap for the death of a mobster's son, and now after serving 28 years in prison is reunited with his partner-in-crime, Doc played with great charm by Walken. Doc, however has been hired as a hit-man by that same grieving mobster and is required to off his old friend or be done-in as well.

"Stand Up Guys" spends most of it's time showing these two aging conmen adjusting to old age as they spend about twelve hours together in an overnight last hurrah before Doc's hit on Val has to take place.

Walken shines throughout as we see Doc deal with just about everything with a hilarious matter-of-fact quality. While breaking into a neighborhood pharmacy to steal some Viagra for Val, Doc is more interested in stealing some medicine for his hypertension since his co-pay is too high.
Most of the jokes and set-ups dealing with the age of these two conmen work well despite the occasional juvenile tendency of the script.

Along the way the two spring their former getaway driver, Hirsch from a nursing home. Hirsch, is played with typical dryness by Alan Arkin. And although his scenes are among the most absurd in the film, you can't help but feel disappointed by Arkin's brief time onscreen.

Pacino’s Val is no great stretch for the actor, after all he’s played this type before in “Donnie Brasco (1997)” among others. In one scene Val attempts to charm a young female bar patron to dance with him. It is humorous yet totally unbelievable. The girl would practically have to know that she was dancing with legendary actor Al Pacino to make it at all plausible. But Val’s relationship with Doc and Hirsch is at times genuine, thanks in large part to the onscreen chemistry of these three veterans.

But the real surprise here comes from Doc’s friendship with Alex (Addison Timlin) a young waitress at an all-night diner that the ex-cons visit several times throughout the night. Their relationship becomes the heart of the film and it helps elevate the material to something other than just a funny buddy flick.

The script was a first effort for its young writer, Noah Haidle, and just the second big-screen outing for it’s actor-turn director, Fisher Stevens. The two have a handle on their material, although nothing too new is on display here. But both writer and director owe an awful lot to their cast of seasoned veterans whose charm, talent and onscreen personas make “Stand Up Guys” all the more enjoyable.


By David Bjorkgren
Managing editor

If nothing else, Stand Up Guys gets you to feel good about thugs.

This buddy picture about three aging criminals who are reunited stretches credibility but works well when the focus remains on the friendship they share.
And why not?  The three gangsters in question are played with a mix of gusto and tenderness by Christopher Walken, Al Pacino and Alan Arkin, with Walken and Pacino dominating the screen time.

The story begins when Val (Al Pacino) is picked up by his best friend Doc (Christopher Walken) after he is released from prison. Val has served 28 years after he took the rap in the death of a crime boss’ son.  Val’s in a party mood and Doc’s happy to oblige, as they hook up with some hookers, steal a car from some dangerous low-life’s, elude police, free their other long-time companion Hirsch (Alan Arkin) from a nursing home  and provide their own brand of justice for a rape victim against the previously-mentioned low-life’s.

In between, there are some very nice scenes mostly between Val and Doc in a restaurant with a very sweet waitress named Alex whose importance to the film becomes apparent later on.
I wanted more of those scenes.  The dialogue rang truer and the feelings of the characters seemed more authentic than the criminal antics and sexual exploits elsewhere in the picture.

To the film’s credit, every time it seemed like it was going to go over the edge with the zany antics of these geriatric criminals, it pulled back and refocused on the friendships between Doc, Val and Hirsch.

There is a plot device here, adding tension and giving particular dimension to Doc and Val’s relationship.  Doc has been coerced by the crime boss to kill Val in revenge for the death of his son.  Should Doc not carry out his mission by 10 a.m. the following morning after Val’s release from prison, his own life and/or the life of his granddaughter would be forfeited.

So we have two aging criminals reminiscing about the good old days, complaining about their aches, pains and high co-pays on their medicines. At the same time Doc wrestles with the dilemma of having to kill his best friend while Val tries to prepare for his own death.

Walken, who somehow manages to deliver a great performance when it looks like he’s doing nothing, is particularly endearing as the level-headed guy who has to make this situation work while Pacino delivers a manic, but sympathetic  portrayal of a man who is quickly running out of options.

Arkin’s appearance as Hirsch is delightful but, sadly, he seems to be around more for comic relief than as a partner on par with Walken and Pacino.  (Note to the filmmakers: There’s no way a man with emphysema could be as sexually spry or energetic as Arkin’s character appears to be.)

The film exists as a vehicle for the three actors and it really delivers,  making it worth the price of a ticket.  As to the rest of the story, it has its quirky appeal but should be seen for what it is—an over-the-top urban fantasy that in no way resembles a true-to-life gangster pic.
I give “Stand Up Guys” 6.8 over-the-hill, rough and tumble, gun-toting, but sensitive, bad guys out of 10.

Hitchcock - Fun But Uneven Look At The Master of Suspense!

Alfred Hitchcock, never won a competitive Academy Award for directing, despite being nominated five times. It wasn't until 1968 that the Academy of Motion Picture Arts and Sciences awarded Hitch the Irving G. Thalberg award honoring him for his work as a producer. The last of those five nominations for best director, was for the 1960 film, "Psycho" which is arguably the director's most famous and best work.

The making of that classic horror film is also the subject of a new movie, "Hitchcock", starring Anthony Hopkins in the title role. It's an enjoyable if not always true retelling of how "Psycho" got made and the toll it took on the director's health and his relationship with wife and collaborator, Alma Reville.

Written by John J. McLaughlin, the film is based on the 1990 book, "Alfred Hitchcock and the Making of Psycho," by Stephen Rebello who also worked as a consultant on "Hitchcock." Although Rebello's book focused more on the artistic production of "Psycho," this film uses Robello's work as a backdrop to the complex relationship between the aging film genius and his loving but longsuffering wife.

Directed by writer-turned-director Sacha Gervasi, "Hitchcock" opens in Plainfield, Wisconsin in 1944, with real-life murderer, Ed Gein (played by Michael Wincott) killing his older brother Henry in a fit of rage. The camera then suddenly pans to the right where we see Hopkins as Hitchock commenting on the crime in an obvious nod to the 1950's TV series, "Alfred Hitchcock Presents." It's a device that works at first, but as the film progresses, the balance of comic commentary versus dramatic exposition proves uneven at best.

Yet, "Hitchcock" still packs a favorable punch thanks primarily to the performances of it's entire cast, starting with Hopkins. His Hitchcock is part impression, part curious take on the reserved film genius. His best moment comes near the film's end, in a riotously funny scene depicting Hitch's reaction to the audience's first exposure to the famed "Psycho" shower-scene. It’s moments like this that comment on the making of the film at hand that are by far the most interesting to watch.

As for the actors playing the stars of “Psycho”, they are all reminiscent of the iconic movie’s cast. Scarlett Johansson doubles for Janet Leigh along with Jessica Biel as Vera Miles. But it's James D’Arcy as Anthony Perkins who is downright uncanny as the famed Norman Bates. It's disappointing however, that such little attention was given to Perkins in the script. D’Arcy embodies Perkins so well, that a biopic of his own seems in order.

But by far the most compelling performance belongs to Helen Mirren as Alma Reville. As Hitch’s wife and collaborator, Reville worked on many of the master-of-suspense’s films as both an editor and script doctor, not always receiving on-screen credit. In “Hitchcock,” Mirren’s Alma is trapped in what seems to be a loveless marriage to a man who is often more interested in his blond-bombshell stars than his devoted wife.

As Alma pursues creative outlets on her own with former script collaborator Whitfield Cook (played by Danny Huston), Hitch becomes suspicious and confronts her.  Alma’s response is an impassioned one and by far the dramatic high-point of the film. Mirren’s work is solid here and worthy of Oscar consideration.

The only drawback to this focus on Alma and Hitch's troubled relationship, is that if often overshadows the behind-the-scenes look at the making of the master-of-suspense's most famous film. It was hard to know what aspects about the Hitchcock's relationship covered in the film were true or just artistic license on part of screenwriter, McLaughlin. For that reason, I often felt I was watching a made-for-TV biopic, and not a feature film.

What I found the most hard to reconcile in “Hitchcock” was the filmmaker’s choice to have Ed Gein, the real-life serial killer who inspired the “Psycho” story, interacting with Hitch in several scenes. The two never really met and having the creepy Gein comment on what’s happening in Hitch’s personal life seems far fetched and unnecessary.

Despite the brief ‘making-of’ portions devoted to “Psycho,” this film spends most of it’s time peering into the personal life of it’s subject. Most of it is light and fun, but the uneven patchwork of drama, comedy and commentary keep it from ever achieving the classic status of the film “Psycho” itself.