This low-key oddity has the potential for some correct horsepower given the odd however intriguing casting of Peter Dinklage and Shirley MacLaine, nevertheless it by no means manages to construct up a lot comedian or dramatic pace – very similar to Dinklage’s electrical scooter, his foremost mode of transport all through. The movie feels ill-considered in some way, like one of many half-sketched fantasies that Dinklage’s protagonist, a college lecturer named Phil, usually indulges in, resembling imagining a pair of an identical twins (Rebecca Olson) are his sister wives able to minister to his each want. There’s a cause why it’s finest to not know different folks’s goals.
Phil’s different huge need is to personal a correct residence as an alternative of the shabby apartment he rents close to the lesser-level Massachusetts faculty the place he teaches cultural economics. At some point Phil finds a deal that appears too good to be true. If he buys a granny flat contained in the sprawling mansion occupied by eccentric widow Astrid (Shirley MacLaine on sparky type) as a live-in, he’ll inherit the total $5m unfold when she dies. Suggested to go for it his by his greasy buddy/realtor Dell (Matt Dillon), Phil scrapes collectively each bit of money he can and strikes in. There are a variety of baffling strings connected, after all, together with hangers-on who could or will not be Astrid’s kids; one in every of whom, Maggie (Kimberly Quinn), is a lawyer specialising in probate, so she’s naturally holding an in depth eye on issues. However, like practically each girl within the movie, she finally falls into mattress with him, unable to withstand that rumbling voice and languid charisma.
The script is by Theodore Melfi, who wrote and directed the equally languid St Vincent with Invoice Murray, and an air of dissatisfied masculinity resonates in each movies; they’re simple to devour however don’t give again a lot, just like the protagonists themselves.
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