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Summary: Bounty hunter Jack Walsh is sent to find and return bail jumper and former Mafia accountant, Jonathan "The Duke" Mardukas. The FBI have had no success it locating The Duke, so when Jack finds him in next to no time, they are a little embarrassed. In order to collect his $100,000 fee, Jack must take The Duke from New York to Los Angeles. However, the Mafia and the FBI have other ideas, as does Marvin, a rival bounty hunter.
I remember this because it was the first R-rated movie I ever watched. I thought it was hilarious how much they cursed for no reason - and I loved Charles Grodin (don't know... can't tell you). It was probably not that great.
A little long and full of implausibly convenient scenarios, but DeNiro carries what could have been another cheeseball mismatched buddy story in a "'Lethal Weapon', only with the comedy/action ratio flipped" kind of way. Great supporting turn by Grodin, whose underplayed turn as a sincere, white collar Robin Hood acts as the perfect balance to DeNiro's wronged tough guy. The constantly shifting allegiances builds genuine suspense in the film's final act before ending on exactly the right note.
Charles Grodin has a deadpan comedic talent that is unparelleled in the industry. Robert DeNiro is by far the best at what he does, which is namely, being Robert DeNiro. Together, they make a great team. A unique story and great acting. A very good film I need to go see again.
A tight script elevated by perfect casting. Farina pulls off a mobster so genuinely over-the-top violent he easily flips from funny 2 scary; Pantoliano's tailor-made 2 play a shyster bondsman; & Grodin & Deniro hit it out of the park as the kind of odd couple pairing we've seen b4. The big difference here is that the changes in their relationship never ring false. The performances r always funny, but the sincere & difficult moments that make the friendship plausible r never sacrificed 4 a laugh.
This was way lighter than I was expecting. De Niro showcases some of his comic timing mixed into his usual thing and Elfman's campy score keeps the tone fun. It's a shame Martin Brest's career was the only one annihilated by Gigli; he wasn't half bad a director.