Director: John Landis
Written by Claude Magnier, Michael Barrie, and Jim Mulholland
Release Date: 26 April 1991
Running Time: 109 minutes
MPAA Rating: PG
Editor’s Rating: 2.5 out of 4 Fanuccis
So, this article is going up late. Things have been… interesting to say the least. But after a rather incredible and mind-boggling week, I am here with a spastic and mind-boggling movie.
Oscar was originally a stage play written by French playwright Claude Magnier. It revolves around the events of one very important day in the life of blatant Al Capone ripoff Angelo “Snaps” Provolone, owner of quite possibly the world’s worst name for a character in existence. He made a promise to his father on his deathbed that he would stop his life of crime, and the action of the film revolves around his efforts on the first day he tries to live up to that commitment.
When I looked at the credits for the film, I wasn’t surprised that the film is based from a stage play. The film is gives you a rather intricate tour of Snaps’ home, because it never really leaves it. It’s almost claustrophobic, but on a first viewing of the film, it’s hard to notice because of all the activity on screen.
Sly Stallone is no stranger to playing a big Italian stereotype. In fact, it’s his favorite role. He can also pull off some decent one-liners, but this was his first time actually doing a straight-up comedy. And you can tell. He’s not terrible, but he’s not that great, either. He’s definitely better than Arnold Schwarzenegger was around this time in the 90s when he started doing comedies as well. That’s about the biggest praise he can get.
However, this film has charming bit parts and amazing character actors to pull them off. Peter Reigert plays an excellent right-hand man, Chazz Paliminteri is an adorable lunkhead with some of the best lines in the film, and Tim Curry is adorable and silly. There’s also a little role from Harry Shearer, who most would know better as Mr. Smithers from The Simpsons, as one-half of the incredibly stereotypical Fanucci brothers. Unfortunately. Marisa Tomei is unbearable - I understand she’s trying to be a spoiled rich kid, but it’s so badly delivered that I can’t get past it.
The plot is as convoluted as it gets, but this is a film where you’re basically along for the ride. It throws ridiculous cornball lines, cheesy music, and replays “The Marriage of Figaro” about a million times throughout the course of the film. It’s not a smart comedy. It’s what happens when the director of Animal House makes a film like Airplane. Don’t expect a great film, just expect something you can use to spend an hour and a half on. Sit down, find it on Netflix, and have a good time. You deserve it after a stupid crazy week.
** I watched this film via a streaming service I pay for. I was not compensated for this review.**