2013, PG-13, 1-- mins.
2013, PG-13, 1-- mins.
Robert De Niro as Paddy / Morgan Freeman as Archie / Michael Douglas as Billy / Mary Steenburgen as Diana / Kevin Kline as Dean / Jerry Ferrara as Dean / Romany Malco as Lonnie / Roger Bart as Maurice / Joanna Gleason as Miriam
Directed by Jon Turteltaub / Written by Dan Fogelman
I would have
loved to have been a fly-on-the-wall witness to the studio pitch for the
awkwardly titled LAST VEGAS. I’m sure that it most likely went down along the lines of "it will
be a cross between THE HANGOVER and
GRUMPY OLD MEN and we’ll get four Oscar winning actors in their twilight
years to appear!" On those
levels, it’s easy to see why a project like this got the greenlight, and
on certain basic levels, it’s a real treat to see a quartet of seasoned
and iconic actors share the screen and enjoy their camaraderie together.
For the most part, it’s impossible not to smile through LAST
Alas, for as
credible and appealing as stars Michael Douglas, Morgan Freeman, Robert De
Niro, and Kevin Kline are together as a dream team ensemble, there’s
nothing about LAST VEGAS that truly lingers with one well after you’ve
screened it and have left the theatre. Sure,
it’s a hoot to see the actors engage in pratfalls and verbal sparring
matches – most of them at the expense of their approaching nursing home
ages – but they all seem to be essentially on autopilot in a collective
attempt to secure what must have been a mighty high payday.
I can certainly see the allure of appearing in this film for these
men (hey, let’s all hang out in Las Vegas for several weeks and make a
movie!), but LAST VEGAS is too soft-pedaled, too relentlessly predictable,
and leaves no story cliché unturned in an effort to unveil itself as a
safe, pedestrian, and mostly forgettable old geezer comedy.
The film does
have a very nice prologue, though, that opens in the mid-1950’s and
introduces us to the “Flatbush Four,” a group of young teens that seem
to simply enjoy their innocent times together.
Then the film flashes quickly to the present (with a rather funny
title card that states “58 years later”) as we are re-introduced
to the once young lads now aging adults.
There’s Billy (Douglas), a well off businessman that proposes to
his young thirtysomething girlfriend at – of all improbable places – a
funeral. She agrees, which
leaves Billy deciding that they should not only get married in Vegas, but
that he should also have a wild bachelor party weekend there with his old
Flatbush Four mates. Gathering
together the other three men proves to be a bit tricky, especially when it
comes to convincing Paddy (De Niro), who has become estranged from Billy
because of a rather thorny indiscretion of his when Paddy’s wife died.
The other two men, Sam (Kline) and Archie (Freeman), are a bit
easier to convince, seeing as they both want one last grasp at youthful
fun before they kick the bucket.
relentlessly formulaic as LAST VEGAS is, the film does generate easy
momentum based on, yes, having Douglas, De Niro, Kline, and Freeman all on
screen together generating moments of modest merriment worthy of a few
chuckles. Douglas can play
smarmy and rich elitists until the cows come home…mostly because he’s
so good at it…and his scenes with De Niro give the film a necessary
pulse of interest. Most of
the comedy comes from Kline and Freeman, though, as they both seem keen on
making themselves look in on the whole one-joke gag of this film.
Sam – rather impossibly – has been given a condom, a Viagra
tablet, and an official okay from his wife to do whatever he chooses to in
Vegas, with reliably funny results (at one point, while at a party, an
inebriated girl asks him if he has any drugs, to which he deadpans back,
“Does Lipitor count?”). Freeman
seems to be arguably having the most fun, especially after he has had his
fix on Red Bull vodka shots (“I feel like I’m getting drunk and
electrocuted at the same time!") followed by some smooth moves on the dance
much delight as I had in seeing these performers spiritedly play off of one
another, the underlining material of LAST VEGAS does not really do them
any tangible favors. Perhaps
one of the problems is that the whole vibe of the film feels undercranked
and too safe for its own good: For a film that’s supposed to be about a
debaucherous weekend out in Vegas, it rarely elevates itself above its limp
and far too mellow PG-13-ified comedic trappings. Perhaps the only hint of lewdness in the film comes in the
form of a bikini judging contest for the four men, which comes off as more
uncomfortable and difficult to watch than euphorically hilarious (some of
the actors, most notably De Niro, seem visibly ill at ease during moments
like these). The script
itself also offers up no unexpected sucker punches to the gut.
Everything transpires exactly as one thinks it will right from the
very beginning, which leaves the film feeling anti-climatic.
instance, a character that Mary Steenburgen plays in the film: a sassy and
independent minded Vegas lounge singer that both Billy and Paddy develop
feelings for over the course of the film.
Despite the fact that Steenburgen is a breath of fresh air in the
film that has many wonderful individual moments with her male
counterparts, her entire role is written on the page to provide for some
artificial tension and crisis in the story, which all comes to a head
during the third act where the three have to decide what’s best for all.
I liked Steenburgen to death here, but the screenplay fails
at providing any tangible reason as to why she would fall for both Billy and
Paddy. She’s more or less a
device by which Paddy will overcome the grief of his wife’s death and by
which Billy will come to grips with whether or not he truly loves his bride-to-be
that’s half his age.
When it boils
right down to it, if you really enjoy the sight of old men behaving
semi-badly in a collective attempt to reclaim their long lost youth, then
I’m sure that LAST VEGAS will be right up your alley.
This is about as pre-packaged of a film as a mass marketed product
that I’ve seen in a long while, one that specifically caters to the
mostly trivial needs of the older audience demographic that wants to see
it. The film is basically
easy to digest comfort food, and on those levels I guess it succeeds.
I certainly enjoyed portions of LAST VEGAS, and experiencing the
sight of so many esteemed actors that I’ve admired for years in the same
film is a hip trip, to be sure. Regrettably, though, this is a comedy that – much like Kline’s
Sam – could have benefited from a Viagra tablet to help spring
itself up and away from comedic and narrative lethargy.