MIDNIGHT RUN
A film review by David N. Butterworth
Copyright 1996 David N. Butterworth/The Summer Pennsylvanian
Directed by Martin Brest Rating: *** (Maltin scale, adjusted from **)
[Reviewers note: I originally saw this movie after a particularly bad dining experience at a Chi-Chi's restaurant--over an hour wait for a nachos appetizer!--and some of that frustration was reflected in this review. I have seen the movie twice since then and have developed more of an appreciation for it. db]
Hollywood has always been quick to cash in on popular trends in the movies. One recurrent theme is the "buddy" picture, in which two mismatched personalities collide, often with comic results.
The latest example is MIDNIGHT RUN in which, it appears the producers felt, Robert De Niro's grittiness, coupled with the sensitivity of Charles Grodin, would make for a winning combination. Unfortunately, the film misfires by not having enough faith in its own convictions. Rather than developing the obvious camaraderie between its two leads, it settles instead for high speed action sequences and low brow theatrics.
Robert De Niro plays Jack Walsh, a disillusioned ex-Chicago cop turned bounty hunter. He is assigned by bail bondsman Eddie Moscone (Joe Pantoliano, doing a good Martin Scorsese impersonation) to find and deliver to Los Angeles an accountant named Jonathan Mardukas (Grodin). If Mardukas, worth a million dollars to Moscone, is returned before the 72 hour deadline expires, Walsh will earn $100,000.
Mardukas, also known as "The Duke", has embezzled $15 million from crime boss Jimmy Serrano, a role played by TV's Dennis Farina (CRIME STORY). Privy to incriminating evidence against Serrano, it is not suprising that the FBI want to get their hands on Mardukas before the mob does. As if this isn't enough, Eddie contracts out another bounty hunter, Marvin Dorfler (John Ashton), to complete the job, if and when Walsh fails.
Walsh develops an early animosity towards federal agent Alonzo Mosley, played with a smoldering intensity by Yaphet Kotto. After starting what turns out to be a running gag concerning government issue sunglasses, Walsh manages to steal Mosley's ID.
This makes apprehending Mardukas relatively easy. However, delivering him to L.A. is not as simple as Walsh had first thought. Mardukas tells Walsh that he is afraid to fly, as well as suffering from a string of phobias. Walsh's response is that if he doesn't shut up, he'll end up suffering from "fistophobia". Such is the level of humor in this movie.
So they board a train, then a bus, and finally several cars and trucks, in an attempt to out run their pursuers. For all the modes of transportation in this film, it could easily have been called PLANES, TRAINS AND AUTOMOBILES, TOO! In any event, all are led on a merry chase across country as Walsh attempts to deliver the "merchandise" on time and collect his one hundred grand.
As one would expect from a movie by the director of BEVERLY HILLS COP, an obligatory car chase is thrown in for good measure. A multitude of police cars race across the Arizona desert, almost as an afterthought, and the chase ends about as quickly as it began.
By the film's conclusion we are expected to believe that Walsh and Mardukas have developed such mutual respect along the way that Walsh's integrity has been renewed, causing him to renege on his contract. It just doesn't hold water.
It is good to see De Niro in a meatier role for a change, as opposed to his recent larger-than-life walk-ons (notably as The Devil in Alan Parker's ANGEL HEART and, more recently, as Al Capone in THE UNTOUCHABLES). His cheeky schoolboy grin certainly contribute to some of the film's lighter moments.
Grodin, too, makes the most of his endearing qualities and at times the chemistry between the two blossoms. This pairing is especially effective in the scenes in which Grodin acts as De Niro's conscience, endlessly bugging him about his smoking and eating habits, asking him personal questions about his private life, even talking him into visiting his ex-wife and daughter after nine years of separation.
And the film does have its amusing moments. For instance, when De Niro shows his obvious lack of mathematical skills on the train and, later, when Grodin mimics his captor in a box car. And there's a scene in which Pantoliano tells his right hand man that Walsh is bringing in "The Duke", thereby saving his livelihood, to which the guy responds "This calls for a celebration.... I'll get the donuts!"
But you have to wade through a quagmire of hackneyed and implausible plotting in order to reach those moments, and it's too much like hard work. Most of the laughs in this film are telegraphed way ahead of time. Those that are not predictable are either pretty lame or simply unfunny. De Niro and Grodin's subtlety is wasted in a film which would have better suited the comedic talents of, say, Eddie Murphy. In fact, this film bears more than a passing resemblance to Murphy's 48 HOURS, yet it lacks that film's wit and style.
Before boarding the plane for Los Angeles, Walsh tells Mardukas "If you don't be quiet, this will be the worst trip of your life." This journey proves to be no pleasure cruise for the audience, either.
-- David N. Butterworth
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