Greetings again from the darkness. Moments after Bill Murray’s Vincent cracks a rare on screen “Chico and the Man” reference, we get our first glimpse of scrawny Oliver (newcomer Jaeden Lieberher), and we immediately know where this story is headed. The fact that we never lose interest is thanks to Mr. Murray, the rest of the cast and writer/director Theodore Melfi (his first feature film).
Though this is ultra-predictable and even strains credulity, we nonetheless connect to Murray’s Vincent – a grumpy, drunken, slobby, chain-smoker who has a bond with a pregnant Russian prostitute/stripper (Naomi Watts). Melissa McCarthy plays Oliver’s mom Maggie, who has separated from her philandering husband, and is intent on making a life for her son. It’s here where it should be noted that Ms. McCarthy plays the role straight – none of her usual funny-fat moments. Instead, she excels in a scene with an emotional dump on Oliver’s principal and teacher (a standout Chris O’Dowd).
Surprisingly, this could even be described as a message movie. Vincent quickly notices that Oliver is lacking street smarts and sets out to correct this. The story reminds us that all people are multi-faceted. The good have their rough edges, and the “bad” likely have a back-story and some redeeming value. Vincent is so cantankerous that it takes a kid as appealing as Oliver to balance the story. Even knowing a feel good ending is coming, we as viewers don’t mind being dragged through the sap.
Murray is outstanding, and if the script had a bit more heft, he would probably garner some Oscar consideration. McCarthy deserves notice for going against type, and Naomi Watts flashes some real comedic timing (maybe the biggest surprise of all). O’Dowd has some of the best one-liners in the film, and shows again that he is immensely talented. Terrence Howard seems a bit out of place as a loan shark, but he has limited screen time, as does Ann Dowd as the nursing home director.
Prepare for the feel-bad-then-good ride, culminating in a school auditorium event that reunites the key characters, and allows the child actor to draw a tear or two from the audience. Good times that end with classic Murray over the closing credits.
SEE THIS MOVIE IF: you have missed the fully-engaged Bill Murray last seen in Lost in Translation (2003)
SKIP THIS MOVIE IF: unpredictable endings are why you see movies
watch the trailer: