Low-pressure comedy about the human urge to be somewhere or someone else. The contrived and self-conscious eccentricity of the set-up somewhat removes the theme from its rightful universality. Wayne, sarcastically nicknamed "Mad Dog" for his nonviolent tendencies, is a crime-scene photographer who would really rather be an art-gallery photographer. And not only that: "I wish I were a brave, handsome man." Frank, nicknamed "The Money Store" for his loan-shark tendencies, is a mobster who would really rather be a stand-up comic. ("My therapist says I crave recognition more than actual accomplishment.") After Wayne saves Frank's life during a convenience-store holdup, Frank sends over a "thank-you present" in the form of Glory, an indentured servant who is to see to Wayne's needs for a week -- a sort of "seven-day singing telegram" -- and who would really rather be a free woman. Uma Thurman's initial awkwardness and nervousness when explaining the situation are almost enough to make it momentarily believable. (Repeat: almost, and only momentarily.) And for the part of the mobster, Bill Murray's customary smug insincerity is not made believable simply by its application to an unbelievable part. And Robert De Niro helps himself, whether or not the movie around him, by lying low and looking like he doesn't believe any of it. Directed by John McNaughton. (1993) — Duncan Shepherd
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