During a high profile Mafia testimony case in California's Riverside County, a hired killer checks-in a hotel room near the courthouse while his next door depressed neighbor wants to commit suicide due to marital problems.
After his mother's death, Collin Fenwick goes to live with his father's cousins, the wealthy, avaricious, and controlling Verena Talbo, and her compliant, earthy sister Dolly. When a city ... See full summary »
Old Nat Moyer is a talker, a philosopher, and a troublemaker with a fanciful imagination. His companion is Midge Carter, who is half-blind, but still the super of an apartment house. When ... See full summary »
It has been seventeen years now since Oscar and Felix saw each other for the last time. Oscar is living in Florida, Felix in New York. One day, Oscar is called by his son Brucey who invites him to his wedding to Felix' daughter Hannah next Sunday in California. Oscar and Felix meet again at Los Angeles International Airport and take a rental car in order to go to San Malina for the wedding. The trip develops into an odyssey, starting with Oscar forgetting Felix' suitcase at the Budget station, going over to the complete loss of the directions (and the car), several difficulties with the police, a dead person, a toupee, underwear and revenge-hungry Cowboys and ending up with Felix meeting the "one and only" woman. But the wedding has to be reached on time. Written by
Julian Reischl <firstname.lastname@example.org>
When Felix and Oscar are called out of the holding cell, Felix says "If we go down, you go down with us" to the truck driver. As he says this it cuts between two shots quickly, and in the first shot when he says, "If we go down ..." his mouth isn't moving. See more »
[Felix and Oscar have just been arrested and are having to face the sheriff for a third time, who is horrified about the circumstance]
So, do you even want to talk about it?
What's the point? It seems like no matter what I say, you two still end up in here.
[looking over at the sheriff's deputy]
Would it be possible to get the results of a race at Santa Anita? I got a trifecta going.
A trifecta. It is where you pick the three winning horses in order from start to finish.
[...] See more »
It is sad to think that we will not have any more gems from either of these two screen legends. Lemmon was a great actor, as can be seen in any one of his many films (particularly, "Days of Wine and Roses," "Glen Garry Glen Ross"). He had a broad range, and could play comedy with the best of them ("Mr. Roberts," "How to Murder Your Wife," etc.) Matthau was a breed apart, having done many dramatic roles in is early career ("The Kentuckian," "Fail Safe"), but it was light comedy where he truly shined. He was one of those true "naturals." So, after the "Grumpy Old Men" successes, they are paired for "The Odd Couple II." From the broad range of commentary here, there are those who celebrate this film, and those who think it is lame. I feel it has good performances in a so-so plot, but it think it was a bad choice. They were both great in the first "Odd Couple," but who can deny that they abdicated the roles of Oscar and Felix to two consummate professionals, Jack Klugman and Tony Randall on TV? They polished those roles to perfection, and they had done all that could be done with them. It was pointless for Jack Lemmon and Walter Matthau to go there again.
For me, "Grumpy Old Men" is how I would like to remember them. That film had a good story, and was supported by a great team of veterans, Burgess Meredith in particular. In that film, even the out-takes are great.
"The Odd Couple II" reminds me in many ways of "Tough Guys." Both films had legends, both as teams and as individual actors, so when Kirk Douglas and Burt Lancaster appear together for the last time, you want for them to have something really special. That is what we wanted for Jack Lemmon and Walther Matthau. These films are okay, but only because the actors are in them. They are not good enough movies to honor their memories.
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