When the speakeasy that employs many musicians gets busted, many performers find themselves job hunting. Moreover, when they witness the St. Valentine’s Day Massacre, two friends in particular find themselves on the run from the mob. As revenge for their playboy antics, their connection at the employment agency pairs them with an all-female band. At least it’s headed out of state! With no choice but to make the most of the opportunity, the duo must pass themselves off as women. But can they keep their cool while surrounded by pretty girls?
Despite Casablanca’s iconic status (fans consider it “bittersweet” while I classify it as brooding and enigmatic), I consider this Noir to be the epitome of its genre. For me, Bogart springs to mind when I think of classic film: charming and able to hold his own without diminishing the strength and wit of a bold […]
It’s a beautiful thing to watch someone in their element, i.e. the shared enjoyment—even between strangers—of someone’s creativity channeled into a well-crafted project. The most complex humor seems effortless, which it may be in that moment, but is resultant of much practice. If a plot is strong enough to withstand a few deviations from its script, an actor with true improv ability will elevate the believability of his character by using natural true-to-life spontaneity to generate chemistry with his costars. This quick-on-their-feet cast collectively sets the essential stage that allows its lead to shine in this hilarious case of mistaken identity.
Expect the unexpected in this courtroom dramedy that’s based on a true story; action star, Vin Diesel as a mobster choosing to legally represent himself rather than rat out everyone he knows is no exception. Co-writer/ director, Sidney Lumet’s resume (e.g. “Twelve Angry Men,” “Serpico”) makes him uniquely qualified to tell it. Moreover, it makes his casting decision undeniably instinctive rather than serendipitously meta.