Going in Style
2 stars
Director: Zach Braff
Stars: Morgan Freeman, Michael Caine, Alan Arkin
Duration: 96 mins
Class: 12
KRS Releasing Ltd
“These banks practically destroyed this country. They crushed a lot of people’s dreams, and nothing ever happened to them!” So rants Michael Caine’s Joe to his pals Willie (Morgan Freeman) and Al (Alan Arkin) as he tries to persuade them that the plan unfolding in his mind for robbing their local bank is not insane but completely justified; even more so since he’s received a dreaded foreclosure notice for not keeping up with his mortgage payments.
Willie and Al are initially sceptical; yet, when the trio’s former employer announces that their pensions are about to be cancelled, they decide that is the last straw.
Post 2008, international cinema churned out many a film inspired by the failings of the banking system, the resultant financial crash and, overall, the machinations of the Corporate Giant against the little man – and a storyline having the circumstances force a trio of retirees to do something totally out of character must have looked pretty tempting on paper. Yet, despite the presence of hard-hitters Caine, Freeman and Arkin, the premise does not quite fulfil its promise. The end result is a rather bog-standard comedy, populated by thinly-sketched characters, a by-the-numbers narrative, so-so laughs, and a rather predictable outcome.
A rather bog-standard comedy, populated by thinly-sketched characters
This is surprising, given it’s directed by Zach Braff (veteran of acclaimed TV comedy Scrubs) and scriptwriter Theodore Melfi (who wrote the excellent character-driven Hidden Figures). Their aim is clearly a comedy caper with some dramatic heft, but they miss the mark completely on both counts.
Although it does raise a few chuckles at times, Going in Style is hardly the stuff of side-splits. While the ‘elaborate’ heist at the centre of the plot is planned and executed with ease, there is very little suspense, although praise is due where it’s due, and the structure of the threesome’s alibis is very cleverly done.
Moreover, the portrait that is painted of the main characters being on the verge of destitution – and, in Willie’s case, death – is completely unconvincing, for all the mention of bank foreclosures, unaffordable retirement, kidney donations and the like, there is never any sense that they are truly vulnerable. The genuine troubles faced by senior citizens in society today are barely touched upon; they’re there simply as fodder for the paper-thin plot. That it’s so light-hearted, and at times rather schmaltzy, almost robs the film completely of any true emotional engagement.
That said, it is hard to ignore the charms of its cast. Like many films of this ilk, the quality is raised somewhat by the presence of its illustrious stars. The best bits by far are those when Freeman, Caine and Arkin are together; their oftentimes sharp and witty banter coming quick and fast.
The three Hollywood greats share a natural and easy-going chemistry, and mine all they possibly can from the material. And – even if you can’t escape the sense that they’ve done the grumpy old men routine before and at times look like they are going through the motions – it is not hard to believe they have been friends for decades as they sit together watching episodes of The Bachelorette and egg the contestants on with glee, or play boules while hatching their plan, or botch an attempted supermarket robbery in rehearsal for the big heist.
Given who they are, you are quite happy to sit back and enjoy their antics and they do just enough to add some shades to the characters: Caine’s Joe, whose righteous indignation gives him the crazy bank-robbing idea; Freeman projecting his trademark dry wisdom, and Arkin as the requisite curmudgeonly character Al – whose life gets brightened up somewhat by the flirty, glamourous Annie played by Ann-Margret, in a welcome supporting role.
You can’t deny the spark they bring. Yet the fact that they perk up proceedings so easily makes you wonder what could have been had the material been stronger. As it is, it doesn’t really go anywhere, even less so in style.