Rating: 
Summary: Oscars can carry a movie a long way
Review: MAD DOG AND GLORY rather proves that Oscars--two for De Niro- can carry a movie a long way. Robert De Niro demonstrates how well he needed to act in a movie that never got out of the gate. At least De Niro was cast well as a police photographer. He played that role truthfully and effectively. However, the thesis that De Niro saved the life of Bill Murry, allegedly feared gangster, fell flat on its' face as I saw the action. I did not see De Niro save Murray's life. De Niro bantered some conversation with a holdup man who held a gun on Murray. The robber finally ran out of nasty things to say and fled in a panic. Well, after this the story was alternatively slow and boring, or the action was incredulous. I was enticed to see the film because of its' twist; the mobster giving the cop Uma Thurman as a friend? housekeeper? playmate? cultural companion? for a week.Uma wasn't sure why she was a gift leaving her no alternative except to jump into the sack with De Niro. From that point of action the movie took off with the speed of a snail. We see several altercations that have little relationship to the plot. In all the plot was juvenile and the dialogue was juvenile. Bill Murray, miscast as a gangster,needed about 20 more years of practice before he could have perfected the role.
Rating:
Summary: Oscars can carry a movie a long way
Review: MAD DOG AND GLORY rather proves that Oscars--two for De Niro- can carry a movie a long way. Robert De Niro demonstrates how well he needed to act in a movie that never got out of the gate. At least De Niro was cast well as a police photographer. He played that role truthfully and effectively. However, the thesis that De Niro saved the life of Bill Murry, allegedly feared gangster, fell flat on its' face as I saw the action. I did not see De Niro save Murray's life. De Niro bantered some conversation with a holdup man who held a gun on Murray. The robber finally ran out of nasty things to say and fled in a panic. Well, after this the story was alternatively slow and boring, or the action was incredulous. I was enticed to see the film because of its' twist; the mobster giving the cop Uma Thurman as a friend? housekeeper? playmate? cultural companion? for a week.Uma wasn't sure why she was a gift leaving her no alternative except to jump into the sack with De Niro. From that point of action the movie took off with the speed of a snail. We see several altercations that have little relationship to the plot. In all the plot was juvenile and the dialogue was juvenile. Bill Murray, miscast as a gangster,needed about 20 more years of practice before he could have perfected the role.
Rating: 
Summary: Good movie
Review: Odd, interesting, and sometimes funny -- probably more of a four, but the one below is so ignorant it needs to be balanced.
Rating: 
Summary: Robert De Niro Mr. Nice Guy???
Review: Offbeat to say the least in a film i regret seeing still to this day. De Niro plays a lonely police photographer who saves the life of a mobster(Bill Murray who`s charcter is funny and stupid at the same time)decides to reward his bravery by giving him his girl for a week. But De Niro falls in love with the girl and refuses to let her go thus making the Gangster an unhappy man. Once again de niro tries hard to shake off his gangster image by switching personnas it failed as did the film at the box office. But Uma Thurman is one attractive woman who woulden`t want to fight over her? Her acting talent isn`t much put to good use here and has come a long way since doing this film that didn`t do much for her career at the time.
Rating: 
Summary: MIRROR IMAGES
Review: Police are not known for their artistic sensibilities or intellectual acumen while on the job. Mad Dog (also known as Wayne) breaks the mold by having these qualities and being very shy. By the way, he has never used his gun in his fifteen years on the police force. Loan sharks are not known for their generosity or quick wit on the stage. Frank, a sleeze-bag loan shark also breaks the mold. What possibly could these tow men have in common? Glory and the need of being something that they aren't. You see, Mad Dog save Frank from a robbery. Out of the goodness of his hear, Frank gives Dog his bartender, Glory, for a week to make his new found friend happy. Let the laughs begin. Robert DeNiro plays a fine role as the unassuming Wayne, caught in the rut of police work and security while his artistic soul flounders. Bill Murray is his usual self with an undertone of laughable seriousness as a loan shark whom no one knows. Before the week is over sparks begin to fly and Dog must stand up to his mirror image and see if he will fight for the woman he loves. Join in the hilarity of these two opposite characters who will have you rolling.
Rating:
Summary: in protest
Review: the only reason i'm typing this is to offset the hyperbolic one-star review below. i didn't run from the theater shouting 'incredible' after seeing mad dog, but when i saw it in a store... used, i bought it. i run it in the background often, and i've watched it intently about 4 times. this movie is funny, well-paced (slow!), and NOT painful. is it believable? no. nice atmosphere though. in my opinion, there are enough good characters and moments to justify the price. deniro's cop buddy, mike, is entertaining and different. the hood guys are amusing. the music is soothing and classic. i enjoyed watching deniro's personality change on the job after getting a little; that scene was a blast. bottom line? don't believe a review which criticizes in the harshest terms but, after proclaiming the task hopeless, doesn't even begin to justify its view. that's lazy, and it's unfair to a movie which was obviously made with care and affection. i like this film very much.
Rating:
Summary: The Absolute WORST Movie I've Ever Seen in My Life!
Review: The worst movie ever! I could go into detail on all the things wrong with this movie, but I'd be typing for a long time. Trust me, save yourself the agony and stay far away from this film.
Rating: 
Summary: Less Than Riveting Drama...Comedy?
Review: This is one of those films that pretty much defies genre or category, inasmuch as it falls into any and all from which you may want to choose. So pick a label and stick it on; whichever you decide upon will work, because "Mad Dog and Glory," directed by John McNaughton, is going to be received and interpreted differently by all who see it, and that determination will be directly derived from personal experience and frame of reference. There are those who will find this film hilarious, while others will see it as a somewhat disconcerting drama, and it's all subjective; there is no right or wrong to it. And in the end, it really won't make any difference, as this is decidedly not a film to compel one toward contemplation once it's over, and for the simple reason that this is basically a character study of characters it's hard to care about. Which pretty much negates any "mulling over" one typically may be wont to engage upon following a film. Suffice to say, this one's a mixed bag; it definitely has it's moments (of course, that's a "given"-- this is, after all, a "De Niro,") and it's entertaining to a point. But in the final analysis, once the screen goes dark, there isn't much about it you're apt to remember once the sun and moon have changed places overhead. Wayne Dobie (Robert De Niro) is a veteran Chicago P.D. detective, but be advised, he is no "Dirty Harry." His specialty is taking photographs of crime scenes, and he has not, in fact, drawn his gun in fifteen years. His life is mundane, he lives alone and he is satisfied if not content with his chosen career. He's a clean cop who lives a clean life and makes the most of what he has. But virtually overnight all of that changes when Wayne inadvertently does a solid for a guy named Frank Milo (Bill Murray). Milo is a small time hood, a loan shark, who fancies himself a "mob boss," and though he has achieved some success in his "field," he suffers from delusions of grandeur that have made him more of a legend in his own mind than anything else. And he manifests that fantasy by having box seats for Sox games and owning his own comedy club where he features himself doing stand-up: Frank Milo, gangster/comedian. And when he finds himself indebted to Wayne, he tells him through the largess of his ego that he can be the "expediter of your dreams," and proceeds to send his new detective friend a "present." It's a gift, however, that puts Wayne in something of a compromising position. Frank Milo, though, is not a man to take "no" for an answer. So for Wayne, a guy just trying to get on with his life, it's a dilemma; and because of the peculiar circumstances involved, it's one to which there is no easy solution. Still, it's not going to go away on it's own, so Wayne is going to have to figure it out. And soon. Director McNaughton was obviously challenged by this screenplay by Richard Price, and like his main character, Wayne, it apparently became something of a dilemma for him. In his defense, it must be said that it's understandable, as this is an example of a high concept idea that looks good on paper, but needs some real vision to successfully translate it to the screen. And that's where McNaughton comes up short. He just couldn't find the hook, that special something that would've made it all jell, and quite frankly, except for the actors involved, this one would've had a shelf life of about a minute-and-a-half. While the outcome of the whole business isn't necessarily predictable (right down to the wire there's a couple of ways it can go), much of what happens is inevitable, like the showdown between Wayne and Milo. Getting there, meanwhile, is a journey nearly as boring as Wayne's life. One of the premiere actors in the history of the cinema, Robert De Niro has the ability to get into a character's skin like no one else, and his portrayal of Wayne is certainly no exception. That De Niro can add nuance to such a nondescript character is a true affirmation of his talent. Wayne is something of a study in contradiction; on a deeper level, he's an extremely conflicted individual-- he has the heart of an artist, but his primary need is the security his job as a cop affords him. All of which De Niro conveys impeccably. Still, there's nothing unusual about Wayne or his situation. Take a poll of the people of the world and you'll find that MOST of them want to be one thing, but make their living doing something else. Add to that the fact that, while Wayne is likable enough, there's nothing about him that's going to evoke much empathy or make you sympathize with him. In the grand scheme of things, his problems are simply too insignificant to get worked up about. And it must be noted that it points up what a brilliant performance this is from De Niro; his Wayne is exactly who he's supposed to be, and it's hard to be interested in a guy who is basically uninteresting and common. As for Murray, playing Milo stone-faced and straight cannot alter the fact that Murray is an intrinsically funny guy. Initially, casting him in this role seems almost inspired, and he gives a good enough performance; but this character hangs on him like a bad suit. He has his moments, but the bottom line is, if it doesn't fit, it doesn't fit, and the best tailor in the world couldn't have helped him. In supporting roles, there are some noteworthy performances turned in by David Caruso (Mike), Uma Thurman (Glory), Mike Starr (Harold) and Kathy Baker (Lee), but it's not enough to make "Mad Dog and Glory" memorable cinema.
Rating:
Summary: Less Than Riveting Drama...Comedy?
Review: This is one of those films that pretty much defies genre or category, inasmuch as it falls into any and all from which you may want to choose. So pick a label and stick it on; whichever you decide upon will work, because "Mad Dog and Glory," directed by John McNaughton, is going to be received and interpreted differently by all who see it, and that determination will be directly derived from personal experience and frame of reference. There are those who will find this film hilarious, while others will see it as a somewhat disconcerting drama, and it's all subjective; there is no right or wrong to it. And in the end, it really won't make any difference, as this is decidedly not a film to compel one toward contemplation once it's over, and for the simple reason that this is basically a character study of characters it's hard to care about. Which pretty much negates any "mulling over" one typically may be wont to engage upon following a film. Suffice to say, this one's a mixed bag; it definitely has it's moments (of course, that's a "given"-- this is, after all, a "De Niro,") and it's entertaining to a point. But in the final analysis, once the screen goes dark, there isn't much about it you're apt to remember once the sun and moon have changed places overhead. Wayne Dobie (Robert De Niro) is a veteran Chicago P.D. detective, but be advised, he is no "Dirty Harry." His specialty is taking photographs of crime scenes, and he has not, in fact, drawn his gun in fifteen years. His life is mundane, he lives alone and he is satisfied if not content with his chosen career. He's a clean cop who lives a clean life and makes the most of what he has. But virtually overnight all of that changes when Wayne inadvertently does a solid for a guy named Frank Milo (Bill Murray). Milo is a small time hood, a loan shark, who fancies himself a "mob boss," and though he has achieved some success in his "field," he suffers from delusions of grandeur that have made him more of a legend in his own mind than anything else. And he manifests that fantasy by having box seats for Sox games and owning his own comedy club where he features himself doing stand-up: Frank Milo, gangster/comedian. And when he finds himself indebted to Wayne, he tells him through the largess of his ego that he can be the "expediter of your dreams," and proceeds to send his new detective friend a "present." It's a gift, however, that puts Wayne in something of a compromising position. Frank Milo, though, is not a man to take "no" for an answer. So for Wayne, a guy just trying to get on with his life, it's a dilemma; and because of the peculiar circumstances involved, it's one to which there is no easy solution. Still, it's not going to go away on it's own, so Wayne is going to have to figure it out. And soon. Director McNaughton was obviously challenged by this screenplay by Richard Price, and like his main character, Wayne, it apparently became something of a dilemma for him. In his defense, it must be said that it's understandable, as this is an example of a high concept idea that looks good on paper, but needs some real vision to successfully translate it to the screen. And that's where McNaughton comes up short. He just couldn't find the hook, that special something that would've made it all jell, and quite frankly, except for the actors involved, this one would've had a shelf life of about a minute-and-a-half. While the outcome of the whole business isn't necessarily predictable (right down to the wire there's a couple of ways it can go), much of what happens is inevitable, like the showdown between Wayne and Milo. Getting there, meanwhile, is a journey nearly as boring as Wayne's life. One of the premiere actors in the history of the cinema, Robert De Niro has the ability to get into a character's skin like no one else, and his portrayal of Wayne is certainly no exception. That De Niro can add nuance to such a nondescript character is a true affirmation of his talent. Wayne is something of a study in contradiction; on a deeper level, he's an extremely conflicted individual-- he has the heart of an artist, but his primary need is the security his job as a cop affords him. All of which De Niro conveys impeccably. Still, there's nothing unusual about Wayne or his situation. Take a poll of the people of the world and you'll find that MOST of them want to be one thing, but make their living doing something else. Add to that the fact that, while Wayne is likable enough, there's nothing about him that's going to evoke much empathy or make you sympathize with him. In the grand scheme of things, his problems are simply too insignificant to get worked up about. And it must be noted that it points up what a brilliant performance this is from De Niro; his Wayne is exactly who he's supposed to be, and it's hard to be interested in a guy who is basically uninteresting and common. As for Murray, playing Milo stone-faced and straight cannot alter the fact that Murray is an intrinsically funny guy. Initially, casting him in this role seems almost inspired, and he gives a good enough performance; but this character hangs on him like a bad suit. He has his moments, but the bottom line is, if it doesn't fit, it doesn't fit, and the best tailor in the world couldn't have helped him. In supporting roles, there are some noteworthy performances turned in by David Caruso (Mike), Uma Thurman (Glory), Mike Starr (Harold) and Kathy Baker (Lee), but it's not enough to make "Mad Dog and Glory" memorable cinema.
Rating:
Summary: Role Reversal
Review: Those folks that have watched the darkly quirky comedy, Mad Dog And Glory before, either "get it" and like the movie very much, or simply dismiss it as drivel--at least that's my experience when talking about it with people. While I will agree, the movie is not going to please some, there is enough there to enjoy and to be enjoyed.
Wayne "Mad Dog" Dobie (Robert De Niro) is a cop who wants desperately to be an artist. After interrupting a holdup and saving the life of mobster Frank Milo (Bill Murray), his life takes a dramatic turn. Milo, like Wayne is a gangster with the desire to be something else in life, a stand-up comic. He rewards Wayne for his good deed, by lending him his girlfriend, Glory (Uma Thurman), for one week, a week in which Mad Dog, who's initially put off by the idea of Milo's gift, gradually finds himself falling in love with Glory.
Directed by John McNaughton, known for his mixture of gory violence and grim humor in films such as Henry: Portrait Of A Serial Killer and The Borrower, plays against type, using a lighter touch here. The director takes that even further--what you have come to expect from the leads and turns things inside out. In other words, the running theme of characters wishing to be something they're not is elevated throughout the movie by strong playing against type performances by the two male leads. The ironic casting of longtime goofball Murray as a gangster and De Niro as a timid cop is hilarious and oddly compelling. Thurman is the center that balances out the extremes at both ends. The screenplay by Richard Price is free for all, somewhat skewed romp that also tackles the age universal questions of fate and destiny.
As a fan of the movie, I am disappointed that there are no extras on the DVD...The film may not be to everyone's taste, but I think it deserves better disc treatment. If you like Murray and De Niro and want to them do something a little different..Go for the Glory--keeping your options open it's worth a look.
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