Very Cool!!!

This is a coming of age storyline that you've seen in one form or another for decades. It takes a truly unique voice to make yet another one worth watching.

If you're interested in the topic at hand, you should just watch it and judge yourself because the reviews have gone very biased by people that didn't even watch it and just hate (or love) the creator. I liked it, it was well written, narrated, and directed and it was about a topic that interests me.

Each character in this movie — down to the smallest one — is an individual rather than a type, prone to spontaneous changes of mood and sometimes amusing outbursts of pettiness or ill humor.

There's a saying; 'those who can, do, those who can't teach…'I'll come back to this in a minute.Going In Style's a film, in a style I love; it's a terrific 'caper' film, but, this time, instead of the usual types of crooks, i.e., the ex-cons just outta the joint, who wanna make one big score, or the group of misfits, who are brought together by a central character, but, each member has their own hidden agenda(s),, it's 3 men - 3 old men, who find sitting on a park bench, quietly - 'enough activity' for one day.When I grew up, I was never a fan of George Burns - it seemed the media made him out to be a monument to longevity, and Mr. Burns, being no fool - gave them what they wanted (and he got the cheques!); the sweet, slightly lecherous, geriatric grandpa-type - in a tux, with a stogie in mouth.Mr. Carney had done the Honeymooners, and though I never enjoyed the series, I always found Art a very interesting actor, who wasn't given too many chances to show what he could do. The previous film he excelled in - Harry and Tonto - was made 5 years prior (then, again, Hollywood doesn't give ANY actors - esp. those over 40, and especially women many leading roles, so, I know it wasn't Mr. Carney's not wanting to work).The 3 actors are 3 men, who all have very different takes on what it means to be 'older' in New York City.Joe (George Burns) is bitter at his lot in life. Al (Art Carney) is the 'middle' - he tries to be jovial, but, there's an underlying pathos. The last (and, to me - least) of the trio is played by Lee Strasberg, as Willie - he's really almost a catatonic shell - so burnt out - either for real, or just doesn't give a rat's behind, he's (mentally) off in the æther - former feeding the pigeons, until it's his turn.Now, Mr. Strasberg founded the Actor's Studio, in New York City, and many illustrious actors were associated with it - and the 'Method' (style acting), including Marlon Brando, and (ah!) the supremely under-appreciated Marilyn Monroe.Mr. Strasberg's appearances in film, or, on stage are very limited - and though some may say this was because he was 'busy training actors', my personal feeling - of his talent are very limited.Back to the opening quote; that's a direct jab at Mr. Strasberg. Though I truly enjoy this film, I think the one thing which weighs it down is Strasberg, and I thank the editor's for making his non- performance as least irritating as possible (in 'Method' acting - the 'Cliff notes' version, the actor has to have 'motivation' - understanding for everything about their character. I know I'm saying this very simplistically, I don't want to bore those not interested. What many critics of this style of acting used to say was they ('Method' actors) were 'mumblers', they spent so much time getting 'into character', that, most of the time was just 'frou-frou'. True, there were/are some very brilliant performances, but, by-and-large, I think that if one were to weigh 'great' against 'poor' Method performances, the scale would be tipped heavily in the 'poor' direction).If one is - like me - someone who watches a film from differing 'aspects', i.e., focusing on one performance, during one viewing, etc., then when I'm seeing/focusing on Strasberg's performance, he literally comes off as a shuffling, mentally vapid old shell.Now that I've told you what (I think) is the dross, I turn to the other 2/3rd's; Burns and Carney.Burns does a delightful 180°'s on the 'old, lecherous, geriatric' he'd been playing for the better part of the decade, on various network specials. Here' he's foul-mouthed, and I love his disposition. He's giving us the 'other side' - sadly, what's more the reality, for many older people, who are for better-or-worse - forgotten by loved ones, or outlived loved ones. He's not 'happy' to be in his 'golden years'! He's not hanging out (as he is on those treacly network specials) with Loni Anderson (ugh) and Brooke Shields. He's angry, and boy, does he have a right to be.He's left with $49/mo social security ($163.29 in 2016!) That's inexcusable, that someone who's worked their whole lives, and is only here for a short while longer, is left in such a sorry state.In the middle is Mr. Carney' s Al, who - though not as outwardly angry by what's their 'lot' in life, as Joe, he's a bit more complacent, but, I see in his effort to humour Joe, a sadness. He still sings songs from 'back when', he's trying to hold on - in a optimistic way.The writing by Mr. Brest (who was a 'kid' - only 28 - when he wrote and directed this (!) is wise beyond those 28 years, in the writing - the character's 'voices' are so well shaped, and the direction is also good.If you want to see a good film which shows just what all those people we ALL see sitting on those benches would secretly love to do, themselves, watch Going In Style.You'll have laughs, and as with any competent 'caper' flick, plenty of thrills.

This story is about the retirees. First there's Willie played by the legendary acting coach/actor Lee Strasberg. Second there's Al played by Honeymooners Icon Art Carney. Thirdly there's Joe played by George Burns. Joe the leader, the glue that holds the three together who all-share an apartment in Queens, New York. Being retired and the rising cost of living and basically relying on social security checks, the three men seem to get along together. The three forgotten souls spend most of their remaining time sitting on a park bench watching the world go by with nothing to look forward to. We really no nothing about their past lives except for upsetting comments made by Willie about his handling of his Son and his regrettable actions toward the boy. We want to learn more but a composed Joe handles Willie sorrows. I always admired George Burns work on the Screen and television. George always showed a composure and coolness to his role with outstanding results. Never demonstrative or raised his voice. Just an even keel on any situation. He never showed a drop of anxiety ever. Perfectly cast to play the Lord in those G-d movies and why not. Back to our story... Joe decides to rob a bank just to break up the mundane lifestyle the three men of leisure have. Perfectly planned the three seniors travel to their first bank job by way of a cab, (Too old to drive or expire licenses.) Oh yes did I mention their armed? Anyway the three enter the bank donned in Halloween masks as they announce a stick-up. They accidentally fire their weapon to the ceiling and their message was received as everyone hit the floor for safety. The three elders collected what they could in cash and headed out of the bank toward the Subway for home. Deep down Joe felt it was a matter of time that the police would catch them. The Next morning Joe and Al find Willie dead in his bed of natural causes. During Willies funeral you meet Al's extended family. Nephew Pete (Charles Hallahan) and his wife Kathy (Pamela Payton Wright) with their adorable daughter Colleen who's Uncle Al's pride and joy. On a whim Al and Joe fly out to Las Vegas and try to gamble some of the hot money away. The scene at the craps table is my favorite. As Al takes a beginner's guide to craps under the calm direction of Joe. Do they squander it all at the table? Do the Police catch up to them? Believe it or not there more twist and turns to this comedic yet poignant story. George Burns and Art Carney work well together throughout this movie. The kind of movie you'll watch again and again.

I've found it's almost impossible to predict what my opinion will be on a film that I haven't seen in many years. I recently rented both The Out of Towners (1970) and Going in Style. I hadn't seen either since at least the early 1980s, when I was still a teen. Before watching this time I would have predicted that they were both about equally good--that's what I remember from my earlier assessments. However, I ended up being slightly disappointed with The Out of Towners while I was blown out of the water by how excellent Going in Style is.This is a film that's best to watch knowing as little as possible about the plot beforehand. For those who must know something of the story, however, it concerns three elderly men who are living together in Astoria, Queens (part of New York City)--Joe (George Burns), Al (Art Carney) and Willie (Lee Strasberg). They're on Social Security, which doesn't provide a lot of money--that's why they're living together. They spend most of their days in a park near their apartment, feeding pigeons, watching children play, and so on. Joe comes up with a very unusual idea to supplement their income and put some excitement in their lives. The first half of the film involves planning and carrying out the idea. The second half deals with the aftermath, and is kind of an extended character study.The most remarkable characteristic of Going in Style is that writer and director Martin Brest, with co-writer Edward Cannon, managed to make a film that has elements of both almost absurdist comedy and deeply moving realist drama co-existing at the same time. Going in Style is a poignant portrait of old age, occasionally deeply sad and even pessimistic, but also very funny, and the three principal characters possess an almost Zen-like satiety, calmness and wisdom.It's interesting to note that Brest later went on to direct films as diverse as Beverly Hills Cop (1984) and Meet Joe Black (1998). Going in Style has elements of both--Beverly Hills Cop's wacky crime-comedy and involved plot structure and Meet Joe Black's emotionally impactful minimalism and social/philosophical subtexts. Another way to describe the film might be in terms of another director, Woody Allen. Imagine Allen making Take the Money and Run (1969) or Bananas (1971), but in a mood much closer to Alice (1990) or even September (1987).The performances are excellent, but Burns especially stands out. Joe is a very different character for him, much more serious and gruff--he's almost a bit of a "heavy". If Burns had been just a bit younger, Going in Style shows that he could have easily had a career make-over/turnaround via Quentin Tarantino, similar to John Travolta. Carney and Strasberg both easily paint complex characters, as well, and the chemistry of any two or more of them together is simply magical.Brest, showing early inclinations towards minimalism, peppers the film with many extremely effective "pregnant pauses". These enable the cast to subtly stretch their mastery of comic timing and give more depth to the tragic or seriously emotional scenes. In both its comic and tragic modes, Going in Style tends to be a relatively "quiet" film--the tone/atmosphere reflects that Zen-like disposition that Brest and his cast create for the characters. We could easily see most of the film's "action" growing out of the pregnant pauses. Brest emphasizes this by loading early scenes with such pauses, such as when our protagonist trio are sitting on the park bench and hatching their plan.The above might sound a bit ridiculous or overly abstract to some, but keep in mind that it's all part of Brest's touching portrait of old age (an incredible feat for a 27-year old writer-director, by the way). Joe, Al and Willie live day by day, because they figure that each might literally be their last day. They're not in a hurry to do anything. They prefer to soak up the fullness of each instant. They're mostly content with their lives and have accepted their mortal fates. Their scheme is relatively easy to pull off because with the slight exception of Willie, who interestingly has some issues from the past he is still trying to deal with and is thus a bit less comfortable with the present, they look at it as just another thing they can experience before they check out of the world, with the consequences of the scheme, no matter what they are, all having their advantages.Brest works in a bit of sly social commentary more conspicuously into the script, as well. One example is the radio announcer who notes that the Gray Panthers are capitalizing on the events as a means to underscore the U.S.'s neglect of old folks. This is doubly clever because not only is the claim literally true, there are subtexts about opportunism, media influence, and so on. The above example is actually a very small detail in the film, but this is a film that has a wealth of such small details.

Three elderly friends concoct a scheme to rob a bank...but what will they do with all that money? Although bank robbery is hardly endearing, director Martin Brest (doing very nimble work) glosses over the extremities and gives us George Burns, Art Carney and Lee Strasberg at their most amiable. Brest isn't afraid to be tender, but he's not maudlin and has a good sense of humor and pacing. Unfortunately, the screenplay loses steam in its third act, which gets gummed up with much realer issues and plot-snags (an unconvincing jaunt to Las Vegas is also weak). Up to that point, however, surprisingly good, with the three leads impeccably interacting. *** from ****