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10/21/02

1 hr. 26 mins.

Starring: William H. Macy, Michael Jeter, Sam Rockwell, Andrew Davoli, Isaiah Washington, Luis Guzman, George Clooney, Jennifer Esposito, Gabrielle Union

Directed by: Joe and Anthony Russo

Frank's film tip: Petty thievery doesn't rob the imagination as much in the Russo Brother's cozy but slight heist comedy WELCOME TO COLLINWOOD

Cleveland-bred cinematic siblings Joe and Andrew Russo serve up a loose-minded but lightweight heist caper in the crime comedy Welcome to Collinwood. The brotherly duo wrote and directed this project that is a remake of director Mario Monicelli’s 1958 Italian romp Big Deal on Madonna Street. Interestingly enough, the Russo’s powerhouse partners-in-crime is none other than star-studded producing pair Steven Soderbergh and George Clooney (who incidentally has a small part in the movie as a wheelchair-bound safecracker). Welcome to Collinwood wants to be a small-scale hip and happening farce where flippant doltish petty criminals celebrate their frivolity through irreverent dubious deeds. Whatever the intent this movie is aiming for, the handful of loopy losers and their penchant for coolness through a streetwise credo of illegal gain comes off as mildly pretentious. Welcome to Collinwood is a breezy and cheeky showcase about showboating bad boys with delusional dreams of pulling off the “ultimate job”. But as filmmakers, the Russo brothers hardly do anything to lift Collinwood beyond the familiar conventions of this particular genre. How appropriate that Soderbergh and Clooney are involved because this comedic ditty is nothing more than a poor man’s version of their stylish collaboration Ocean’s 11.

Collinwood is the worn-out working-class section of a Cleveland neighborhood where a band of misfits come together to scheme and score. The story development focuses on petty criminal Cosimo (Luis Guzman) who’s serving time in the slammer. When he gets wind of “the ultimate job” (or what this movie graciously defines as a “Bellini”) from a fellow inmate doing a life sentence, Cosimo cannot resist the challenge of taking on this juicy gig…er, I mean…Bellini. And since the lifer doesn’t want this particular crime to go to waste since he cannot partake in it due to his everlasting incarceration, he might as well let Cosimo tackle the criminal endeavor. But Cosimo must be discreet about this criminal intent of his and zip the lip. Sure, maybe he’ll tell his girlfriend but that’s about it. Yeah, and if you believe Cosimo’s discretion then you’re most likely to invest in wooden toilet paper stock.

So Cosimo and his bumbling band of misfits hook up and start to utilize their strategic plan in terms of how they’re going to pull of the ambitious heist. Their mission: to secure a tightly-guarded safe from the clutches of a pawnbroker’s shop. The Bellini requires inspiration, desire and concentration but the running joke remains the obvious choice of forethought: can these eccentric nitwits overcome their clumsy crooked ways and realize the fruits of their larcenous labor? If anything, these goofballs possess gumption. Plus, there’s the usual profile that paints the portrait of each unlawful personality. William H. Macy dons his trademark sourpuss demeanor in the form of a clueless photographer. Sam Rockwell plays an incompetent boxer with no punch. Michal Jeter is a washed-up and wiry small-time crook with a dash of caustic edginess. Isaiah Washington is the smooth black participant in this bunch. And as mentioned earlier, George Clooney tries to bring stability and recognition to this little pet project as the dashing disabled safecracker with the ruffled look in a small but key cameo appearance.

Welcome to Collinwood has its share of off-kilter chuckles and the audience will undoubtedly appreciate the movie’s quaint blue-collar, squalor-induced sentiment. The Russos have an eye for capturing the ribaldry and soulless bewilderment of their puzzled protagonists. But this goofy gangster yarn never really elevates itself from being yet another earnestly generic crime-busting comic vehicle. Collinwood stays true to its persona as a frivolous flick that doesn’t try to take on the weighty luster of its wacky treasured inspiration in Monicelli’s Big Deal on Madonna Street. However, much like Louis Malle’s forgettable 1984 flick Crackers, Welcome to Collinwood is a well-intentioned remake that shows some spunk and promise but fails to register as anything distinctive or daring despite the irreverent zest of its wayward characters.

In the long run, Welcome to Collinwood does have a sense of passion although nearly not as romantic or skillful as heist movies such as Jules Dassin’s delightfully devilish gem Rififi. Somehow the thought of local lowlifes with high hopes of reaching an ill-advised solution to escape their urbanized rut had potential and an inkling of impish charm to accompany the angst-ridden jauntiness. However, showcasing these clannish clowns and their appetite for Mickey Mouse mayhem in an arbitrary and atmospheric felony fable feels so false. Hence, this movie’s Bellini adds up to a slight hill of beans. Once you’ve seen lawbreaking Palookas demonstrate a pseudo-slickness in their method of madness, you’ve definitely seen it all.

Frank rates this film: ** 1/2 stars (out of 4 stars)