Goin' South
Sometimes a film’s charm comes not from polish but from how much fun the cast seem to be having. Goin’ South is one of those. Jack Nicholson directs himself as a scoundrel saved from the noose by an unlikely marriage, and he leans right into a broad, almost commedia dell’arte style. Everyone sounds like they’re acting through a head cold, but that just adds to the absurdity.
The supporting cast is stacked — Christopher Lloyd, John Belushi, Danny DeVito — yet most of them barely get enough screen time to stretch. Still, they throw themselves into the silliness with gusto, playing it loose rather than heavy.
The real surprise is Mary Steenburgen in her debut. She owns the room without even trying, bringing wit and steel that cut through the film’s more slapdash moments. It’s messy, uneven, and hard to take seriously, but that’s also the point. A Western played for laughs rather than grit, and it gets by on sheer cheek.
The supporting cast is stacked — Christopher Lloyd, John Belushi, Danny DeVito — yet most of them barely get enough screen time to stretch. Still, they throw themselves into the silliness with gusto, playing it loose rather than heavy.
The real surprise is Mary Steenburgen in her debut. She owns the room without even trying, bringing wit and steel that cut through the film’s more slapdash moments. It’s messy, uneven, and hard to take seriously, but that’s also the point. A Western played for laughs rather than grit, and it gets by on sheer cheek.
Mini Review: Goin’ South coasts less on polish than on the cast’s fun. Nicholson directs himself as a scoundrel saved from the noose by marriage, playing it broad and absurd. Lloyd, Belushi, and DeVito barely register but dive into the silliness. The standout is debuting Mary Steenburgen, who owns the room with wit and steel. Messy and uneven, it’s a Western played for laughs, getting by on sheer cheek.