Saturday, April 08, 2017
Going in Style
Let’s be honest: under any set of objective analytical criteria, ‘Going in Style’ is a pretty average movie. Its screenplay isn’t just predictable: you can literally cue in every narrative beat on a scene by scene basis. Matters pertaining to the gift of a watch and the capturing of a specific bit of CCTV footage are set up in such thunderously obvious style that their later relevance is something you can see coming like an ocean liner on a duck pond. The look of the film and its production design are entirely utilitarian. And with the exception of one whirlingly terrific scene where the sketching out of a bank’s floorspace segues into a “planning the job” montage, helmer Zach Braff doesn’t bring a single directorial flourish to the table. Had ‘Going in Style’ been made with a lesser cast than Morgan Freeman, Michael Caine, Alan Arkin, Christopher Lloyd, John Ortiz and Ann-Margret (who, at 75, still has more va-va-voom than many starlets a third her age), it wouldn’t have had much to recommend itself beyond the obvious anti-establishment satisfaction of watching a bunch of old dudes pull off a heist. (And let’s face it, Arkin’s contemporary Frank Langella set the seal on that concept in fine style with ‘Robot & Frank’ five years ago.)
That Caine and Freeman would play off each other in fine style was a done deal. That Arkin would bring his deadpan sarcasm A-game, ditto. Eccentric, scene-stealing supporting work from Lloyd? Guaranteed. Ortiz being cool just by underplaying? The man has the patent on it. Now throw in perfectly acceptable work by Matt Dillon as a determined FBI guy, Peter Serafinowicz (an actor often denied sympathetic roles) as Caine’s son-in-law, and Joey King as Caine’s granddaughter. Everyone’s engaged and, for the most part (Josh Pais as an unctuous banker is the over-egged exception), the cast pitch their performances to each other’s strengths; sure, Freeman, Caine and Arkin are the top billed talent, but ‘Going in Style’ is inarguably an ensemble piece.
The plot shouldn’t need a rehash for anyone who’s seen the trailer (hell, even a glance at the poster would probably do the job), but for the sake of completeness, here goes: three OAP buddies who worked at the same steel plant together are robbed of their pension when the firm undergoes financial restructuring; family commitments, health problems and an increasing awareness of their own mortality add to their woes. When one of their number is witness to a bank robbery, one that the media widely reports the perpetrators as getting away with, they decide to pull a similar job. That the bank is administrating the steel plant’s restructuring is the decider: they agree to take only what was depleted from their pension, superannuated by their assumed remaining lifespan (the scene where they each speculate how much longer they have is one of the best moments the film delivers).
Hands up everyone who’s pegged ‘Going in Style’ as ‘Hell and High Water’ with a free bus pass. Yeah: me too.
It’s derivative as all hell. At one point, Braff has his protagonists watch ‘Dog Day Afternoon’ on TV (“I don’t want to see the ending” one them muses) and the inclusion of footage from such an edgy and powerful classic almost sinks ‘Going in Style’. Elsewhere, the tone veers from meditations on the indignity of ageing that wouldn’t be out of place in ‘The Straight Story’ to knockabout farce that makes the average ‘Keystone Kops’ two-reeler look like Tom Stoppard.
And yet … and yet … despite everything – despite the fact the screenplay presents less a fluid narrative than a shunted-together collection of vignettes; despite the fact that the performances from the name-above-the-title triumvirate constitute screen work they could do in their sleep; despite the poundingly unsubtle sops to the audience’s emotions – it works. ‘Going in Style’ somehow finds a way to benefit from its hoariness, its obviousness, its lack of originality. It reminded me of ‘Papadopoulos & Sons’ in its conversion of comfort-food aestheticism into a fictive zone in which the characters are presented to you like old friends, their journey unfolds exactly as you expect (and moreover want) it to, and you’re simply allowed to enjoy the ride.