Cast:
John Cusack (Martin Q. Blank), Minnie Driver (Debi Newberry), Alan Arkin (Dr. Oatman), Dan Aykroyd (Grocer), Joan Cusack (Marcella), Jeremy Piven (Paul Spericki), Hank Azaria (CIA Agent Steven Lardner), Barbara Harris (Mary Blank), Mitchell Ryan (Mr. Bart Newberry), K. Todd Freeman (CIA Agent Kenneth McCullers), Michael Cudlitz (Bob Destepello), and Benny Urquidez (Felix La Poubelle) Directed by George Armitage.
Review:
Yes, this was a movie script that was first written by a man who received an invitation to their 10th high school reunion. Michigan native Tom Jankiewicz worked as both an advertising copywriter, a substitute teacher and cashier when he was developing a script that would become this movie, which he started in 1991, which had a variety of characters that were based on people he had known (no, not the lead character). The script, when finally picked up for production, would feature re-writes that saw three people credited alongside Jankiewicz in the final version: John Cusack, Steve Pink, and D.V. DeVincentis. In the end, this was the only feature script that Jankiewicz would see made into a film, although he did serve as a script doctor on a handful of scripts while working primarily as an advertising copywriter and news-writer. In 2013, while participating in a question-and-answer session with college students about the movie, he collapsed and died; he was 49. Now, a film does need a solid director, which is where George Armitage comes into the picture, since Cusack sent him a copy of the script to see if he was interested. Born in Hartford with a move to California as a teenager, he started the road to filmmaking as a film fanatic who happened to study political science and economics at UCLA before being offered a mail room job at 20th Century Fox. He would do work for the studio on television while writing his first scripts in the mail room, most notably with Peyton Place. It was Roger Corman, who was there at the studio to make The St. Valentine's Day Massacre (1967), that helped inspire Armitage on his way to become a filmmaker, particularly his style of letting the actors improvise while getting his day in of shooting; he would write Gas-s-s-s (1970) for Corman (while also serving as an associate producer), and he was impressed enough to have Armitage direct his first film with Private Duty Nurses (1971). Armitage, when presented the script by the four writers, found himself having to guide them to cut down the script in pre-production in order to get it right for shooting (in a sense, he was doing un-credited script work, although he did not want to deal with the Writers Guild and their way of handling credits). It was shot three ways: the written version, a mildly understated version, and an over-the-top version, with the latter being generally utilized to go alongside actor improvisation. This was the fifth feature he directed in his career.
It's funny how you can make a movie about a morally flexible assassin trying to not satisfy their urge and end up having to do so anyway for a solid and clever movie, one that manages to get the finer points of what it really means to try and go home again. It is a coherent black comedy that rewards its viewer with solid characterization in the art of detachment and wry behavior that happens to also have a soundtrack by a member of the Clash. The strength comes from Cusack, wrapped in curiosity and well-placed timing in a character role that requires someone who can eke out something worthwhile in a mess of a character that isn't simply just a calm and collected mercenary. It all comes with the eyes of watching someone who has seen the other side of life and wants to come back, with a little bit of shooting on the side. Driver makes up the other part of the captivating chemistry that comes with the movie in passionate cynicism that has tried to re-invent themselves again and again only to find frustration and hesitancy, complete with sharing a kiss with Cusack from the get-go only to throw a mic on him to do on-the-air blasting in ten years of irritation. Of course, the other members of the cast lend a hand in curious charm, whether that involves Cusack and Cusack sharing brief scenes together or on the phone that matches stoic and chipper attitudes. Arkin makes a reluctant pairing with Cusack that results in a few good moments in the art of attempted conventional therapy. Aykroyd is enjoyably deranged here, making for a quality (union man) ham that makes a quality contrast to Cusack without overstepping him. The setup to get to the climax might be a bit convenient, but one could also find a variety of situations to be a series of convivences and coincidences, which it is really a dandy way of saying that some things are just fun enough to go with things. The 107 minute run-time makes for a pleasant breeze, one that carries its time back home with memories and long-gone people with select moments of action, most notably with a locker-room fight that is executed effectively. As a whole, Armitage and company cultivated a movie with plenty of lasting appeal that has not diminished in the 25 years that have followed the release of this film, one with capable wit and timing from its characters that make it a lingering classic worth checking out.
Overall, I give it 8 out of 10 stars.
