When observation One Night at McCool’s, it’s really hard to not compare it to Pulp Fiction. I approximate when you have a film as groundbreaking as Pulp, many films ar going to be stacked up against it. That is the case with this modish dark comedy starring Lusterlessness Dillon, 54 Tyler, Saul of Tarsus Reiser, Whoremaster Goodman and Michael Douglas.
In McCool’s, Tyler is a fiery vixen that works her charms on three altogether different hands. Matt Dillon plays a bartender, and the first base to buckle under to Tyler’s charms. Reiser plays a married lawyer who is instantly drawn to Tyler’s (the Dominatrix), while King of Swing plays a sweet natured police officer who sees shades of his deceased wife in the femme fatale. Throughout the course of this rather separated film, Tyler uses each man to get what she wants out of life, whether it be protection, a new videodisc player, or rough sexual urge.
This film from managing director Harold Zwart thinks it’s more hip than it actually is. There ar some honest ideas floating around this picture, but nothing seems to stick. The characters aren’t peculiarly interesting and while the movie passes itself off as a comedy, it tends to be a surprisingly desolate experience. Many moments in the icon do stupor with unexpected bursts of violence (the big 1 is granted away in the coming attraction trailer), but it’s never effective because we don’t really care about the characters.
Dillon is just sledding through the motions, patch Reiser gets to receive some fun with his role as a unctuous lawyer. Benny Goodman plays it low key but doesn’t really have any memorable moments. John Tyler certainly looks the theatrical role of a seductress simply much like Jennifer Dear Hewitt in Heartbreakers, she never actually embodies the character. Andrew Dice Clay is diverting as a loud mouth thug. There’s actually more than to his character, simply I’d kind of not give that plot of ground point away in this review. Little Giant is, without question, the best part of Unmatchable Night at McCool’s. As an aging hitman, Douglas is apprehension and rosehip without organism over the top. This is plainly a role he wanted to get fun with and he makes the most of it.
Thankfully, One Nighttime at McCool’s is nowhere near as dreadful as some of the current comedies out there, only I still don’t cogitate I would recommend it. Although it has colorful moments, it doesn’t exert any kind of rhythm or vim needed to make it a substantial movie feel. It’s Pulp Fiction without the flash and There’s Something Around Mary without the laughs.