Review: ‘Going in Style’ has considerable flair (Includes first-hand account)

There’s an intriguing phenomenon occurring in Hollywood at the moment: a generation of accomplished, acclaimed actors and filmmakers are getting old. In spite of being over the traditional age of retirement, they are still flourishing and working well into their 70s, 80s and even 90s. However, in order for them to do so, the types of narratives being told had to mature with them. Consequently, there has been a perceptible increase in the number of films made featuring older protagonists — the trick is to make them appeal to all ages. The latest in this series of films is Going in Style.

Willie, Joe and Albert (Morgan Freeman, Michael Caine and Alan Arkin, respectively) have been friends for nearly three decades, having worked most of their lives together at the steel mill. But they’ve recently found themselves in a financial bind since they stopped receiving their pension cheques. While at the bank to contest the impending seizure of his house, Joe becomes a hostage in an armed robbery by some very polite, masked thieves. Desperate and out of options, he suggests to his two friends they should consider doing the same — take back what they’re owed from the corporate crooks that took it. With less than 30 days to plan and lacking the skills to even carry out a successful heist at a grocery store, they recruit a professional lowlife to show them the ropes. Then it’s just a matter of not getting caught.

This is essentially the senior’s version of Ocean’s Eleven, but featuring an inexperienced crew rather than a group of career delinquents. However, in spite of being a smaller team, the three actors match their counterparts in talent and wit combined. Arkin, unsurprisingly, plays the cynic of the group and he does so flawlessly. His curmudgeonly resistance to the idea and outright protest in one instance is a constant source of humour. Caine is the charming dreamer who must persuade his companions they can pull off the robbery… and that, if caught, they won’t be in much worse a position than they are now. Freeman is Caine’s charismatic equal, but is a much more private individual. Christopher Lloyd also has a memorable supporting role as another of their amusingly forgetful friends. With this cast, it looks like director Zach Braff‘s job was easy; moreover, the veteran actors appear to be having a great time on screen — an experience that turns out to be contagious for the audience.

The actual robbery and planning takes place in the last act, which leaves a lot of time to get to know these characters and the reasons for them to take such a significant risk — the realities of which are made apparent in the hours and days following the heist. But leading up to the big day, they have playful conversations with the waitress (Siobhan Fallon Hogan) at their favourite diner, experiment with marijuana and spend time with their loved ones, including Al’s new girlfriend (Ann-Margret). Containing the whole story to 96 minutes means the film moves at a decent pace and no one scenes is stretched to an uncomfortable length. The result is a fun and entertaining night at the movies with a few of our favourite actors.

How To Rob A Bank Tip #43: Don’t put it on Snapchat. #GoingInStyle is now playing! Get tickets today! pic.twitter.com/E2J5nKxKqJ

— #GoingInStyle (@GoingInStyle) April 7, 2017

Director: Zach Braff
Starring: Morgan Freeman, Michael Caine and Alan Arkin

Similar Posts

  • Review: ‘The Neon Demon’ is a spellbinding creature (Includes first-hand account)

    In a sea of basic conformity and rehashed storylines, auteurs stand out more than ever. When a particular name is attached to a film, audiences know they can expect something outside the box — a specific style and feel that will likely be as contentious as their previous works, since anything with a resounding voice laid throughout tends to split people’s opinions one way or the other. Even though this is only Nicolas Winding Refn‘s third theatrical release since the writer/director made a splash with Drive, he’s already been established as a director with a unique approach to filmmaking. Once again applying his signature to a fresh narrative, The Neon Demon is a stunning picture that definitely exhibits new influences.

  • Review: ‘Dark Star: H.R. Giger’s World’ expands on the artist’s legacy (Includes first-hand account)

    Many artists gain notoriety after their death. While their lives are chronicled, it’s often through a posthumous biopic in which it’s necessary the artist be portrayed by some actor who mimics their ability for the screen. However more documentary filmmakers have been taking the opportunity to record their talents and tales while the subject is still alive and able to share a first-hand account. Though Dark Star: H.R. Giger’s World is being released after the artist’s death, it’s still a privileged instance in which a notoriously private figure opened his life for the film.

  • Review: ‘The Accountant’ doesn’t make a mistake in adding up its assets (Includes first-hand account)

    The old saying goes, “Do what you love, love what you do.” Having a passion for one’s occupation can make a job not feel like work. Conversely, sometimes enjoyment can be gained from being the best rather than fancying a particular vocation. Sometimes one just gravitates to a certain career because they have a natural talent for it. And sometimes it’s simply the most logical choice given the circumstances. In some ways, the protagonist in The Accountant checks all of these boxes.

  • Review: ‘McFarland’ is strong from start to finish (Includes first-hand account)

    Underdog stories are always so appealing. Regardless of the sport or task, watching someone overcome various obstacles to prove wrong their peers and all the naysayers they’ve ever encountered can be quite inspiring. If the film is done right, the audience experiences every up and down with the character(s), and shares in their triumph when they’ve finally achieved their goal. McFarland (a.k.a. McFarland, USA) is done right.

  • Review: Hot Docs’ ‘Screen on Screen’ puts movies at the forefront (Includes first-hand account)

    Going to the cinema is generally considered a form of escape. Just this month, audiences sat shotgun with the team in Fast 7, fell in love for the first time in The Longest Ride, and saw the world through the eyes of acclaimed photographer Sebastião Salgado in The Salt of the Earth. But there are so many ways to experience film; the audience’s experiences will differ widely from the experiences of the actors and crew who made the picture. At the Hot Docs Canadian International Documentary Festival, the “Screen on Screen” program investigates people’s relationships with movies. One of this year’s selections discusses the deliverance some cinephiles found in American productions, while another examines the effects of being a star in the Hollywood system.