Every film that has ever been nominated for an Academy Award in any category. Enjoy!
The Late Show
The nicest movie you'll ever see about murder and blackmail.
Over-the-hill gumshoe in Los Angeles seeks to avenge the killing of an old pal, another detective who had gotten himself involved in a case concerning a murdered broad, stolen stamps, a nickel-plated handgun, a cheating dolly, and a kidnapped pussycat.
Art Carney plays a semi-retired private investigator who partners with Lily Tomlin to catch and revenge the people that murdered his partner. Carney makes a great private eye....I could easily picture Bogart in this role. If Bogart would have lived longer....I am sure he would have played an aging past his prime detective. The younger Ira Wells (Carney's character) would have used his brawn to get out of the messes he finds himself in...the older Wells has to use his brains as he can not be the physical stuff anymore.
I have never been a Lilly Tomlin fan....and this movie did not change this opinion. To me her part slows the movie down....and I am not even sure why she…
This is like The Long Goodbye's scrappy, slightly dopey younger cousin who's not into as many cool bands and who sometimes seems a little desperate to entertain but you like him anyway because in conversation you realize he's actually kind of smart in his own unpretentious way.
Alongside Long Goodbye, Hickey & Boggs, and Night Moves, another "what if a hardboiled gumshoe but in the 70s" exercise. Also like those movies: totally great. It's not as hopeless as the latter two and unlike Long Goodbye, the protagonist (Art Carney) isn't just old-fashioned, he's also just plain old, as everyone he encounters is quick to point out. "You're late. About forty years too late," an electronics and menswear pushing fence tells him. Lily Tomlin plays a flaky new age pot dealer (well, only until she gets enough money to open a boutique dress store), rambling on about karma, she elicits a wonderful, "What the hell is she talking about?" from Carney.
I've always loved Tomlin, but this may be…
It's a very rare thing to discover a 70s Hollywood film that doesn't involve a young up-and-comer in a part of some size. They sort of epitomized the era, either in front of, or behind the camera.
The Late Show, written and directed by Robert Benton and produced by Robert Altman, is a neo-noir where an elderly private detective gets more than he bargained for when reluctantly taking on the case of Lily Tomlin's missing cat. He's got enough on his plate as is, with trying to solve the murder of his friend.
Art Carney, a name I actually know less as a face than I do in written form is splendid as the sickly PI, and Bill Macy nails…
Art Carney is Ira Wells, an old-time private eye, stuck being an old man in late 1970s LA. He's got a bum leg, a hearing aid, and instead of bourbon, he drinks Alka-Seltzer when he gets shook up. Lily Tomlin is Margo, a nutcase who's lost her cat.
The lost cat ties into the murder of Wells' friend Harry Regan, so he agrees to work for Margo to find the man who killed Harry. A complicated case follows, of course.
Not fast-paced and somewhat predictable with the noir tropes, but extremely well done. Director and screenwriter Robert Benton put together a beautiful homage to the 1940s-50s detective movies. The dialog is sharp, without being over-the-top. As to the acting, Art…
Solid and underrated neo-noir filled with twists and turns that are a treat to watch unfold. Art Carney and Lily Tomlin are both fantastic together as the unlikeliest of duos. Their character quirks never define their motives, but help to reinforce character history and are revealed as the plot thickens, a true sign of great writing. The script is dynamite in finding just the right balance of suspense and gallows humor. A nice little gem that noir enthusiasts should seek out.
Solid, twisty mystery plus Art Carney and Lily Tomlin providing solid comedy. There's a bit of The Maltese Falcon, The Thin Man, and a lot of the 70s kookiness and neo-noir stylings.
The writer-director, Robert Benton, has followed the rules of the detective-movie genre, but he's also added something: the detective (Art Carney) is overweight, old, and scared. None of this prevents the heroine (Lily Tomlin), who hires him, from perceiving that he's different from the other men she knows. This one-of-a-kind murder mystery pays off in atmosphere, spooking us by the flip, greedy ordinariness of evil. Eugene Roche is a fence who loves his stolen goodies; Bill Macy is a scrounging bartender; Joanna Cassidy is a lying, cheating charmer; Howard Duff is a penny-ante detective who dies muttering about the money he's going to make; and John Considine is a sleekly handsome strong-arm man. They're all originals. Warners.
see When the Lights Go Down.
Lily is the whole show
Being generous with the extra half star because I enjoyed watching this quick detective yarn so much. Art Carney plays grumpy and past-his-prime quite well, and the age-appropriate cast executed their genre roles, with Lily Tomlin providing the modern day mentality against the old-school of the protagonist/antagonists.
Overall, nothing new here but a nicely done "modern" gumshoe movie - modern in the time of its release, of course.
I've always had this feeling, but now I'm certain that Lily Tomlin is the most underused actress of the past 40 years.
They really shoehorned that romance in though, should've been plutonic.
A very enjoyable movie.Great cast, script and direction. Recommended 4/5
A quirky sleuth drama. Tomlin got the plaudits at the time, but for me it is Art Carney who makes the bigger impression. You forget his comedy background as he loses himself in this role. Sure, none of it is wholly original. Enjoyable nonetheless though.
Engaging and endearing. Retired P.I. Art Carney seeks the killer of his old partner, sometimes with the help of Lily Tomlin. A lo-fi Los Angeles detective story that feels unauthorized.
This review may contain spoilers. I can handle the truth.
A deep, regretful melancholy and mourning tinges the film with a grave air of mortality and grimness that reflects the embittered cultural climate of the '70s. Transposing the jaunty rhythms of '40's detective comedies to this cruel era, Benton's revisionist approach drains the comedy-noir genre of its thrills—the gruesome consequences and ugly ineptitude of violence are foregrounded over thrilling shows of daring or gunplay, the labyrinthine twists and turns of its noir plot all in the service of petty, desperate, and venal people with no grander motives in sight.
Swapping the Thin Man series's romantic pairing for an odd-couple pairing of equals—Tomlin's brassiness defies Carney's half-hearted moralizing, resisting his paternalism and insisting on her own agency—Benton's version of Nick and…
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