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Three elderly friends concoct a scheme to rob a bank...but what will they do with all that money? Although bank robbery is hardly endearing, director Martin Brest (doing very nimble work) glosses over the extremities and gives us George Burns, Art Carney and Lee Strasberg at their most amiable. Brest isn't afraid to be tender, but he's not maudlin and has a good sense of humor and pacing. Unfortunately, the screenplay loses steam in its third act, which gets gummed up with much realer issues and plot-snags (an unconvincing jaunt to Las Vegas is also weak). Up to that point, however, surprisingly good, with the three leads impeccably interacting. *** from ****

In this conflictless dramedy three old men rob a bank. It was the perfect crime only because there was such little downside to it all.

A.) they succeed and walk away with a lot of money.

B.) they fail and they go to jail for a few years where they'll get three hots and a cot and come home to a few years of social security checks.

It's a slow moving movie at times with nothing really strong, yet it holds the attention.

A short preview of this film on television might suggest a zany comedy in which old age-jokes fly fast and furious, but "Going in Style" is in fact a serious film, with only bits of humor thrown in here and there.

George Burns is Joe, a man who suggests to his two roommates (Art Carney and Lee Strasberg) that they rob a bank in order to relieve the boredom of retirement. When they do, the find their lives do in fact change drastically, though in quite unexpected ways.

The characters are three-dimensional and complex, and it is apparent that they, just like real people, have issues in their lives -- sometimes very serious ones -- that have gone unresolved for many years. The dialogue is realistic, but relaxed, and includes a lot of repetition of lines (Joe, Willie, and Al are all starting to lose their faculties somewhat and occasionally need repetition from each other). This makes the pacing deceptively slow; when you think back on the film after watching it, though, you find that a whole lot happened in those 97 minutes.

"Going in Style" has no caricatures (except, perhaps, Joe`s attorney) and, though the problems of old age are presented in a matter-of-fact way, the film is never preachy. It should also be noted that it is gratifying to see a movie in which younger members of a family (Pete and Kathy) show such genuine respect and kindness to their elders.

All the leads are terrific, but Burns is perfection itself as Joe.

This film is very highly recommended.

George Burns, Art Carney and Lee Strasberg play Joe, Al and Willie...three retired roommates whose lives have become pretty mundane.

'What could we lose...either we get the money or we get caught. We're winners either way.'

When one of them decides they should rob a bank. This was such an interesting film. I loved the slow pace and the tight relationship between the three long time friends. There is humor...when they rob the bank, the bank employees don't believe them because they are so old. But my favorite scene is the Vegas extravaganza where they more than double their money.

Believe it or not I was actually surprised at the ending of the film, not shocked...just surprised and not unhappy but the overall film is very melancholic.

I think this is better than it's remake and worth seeing for vintage films fans. As for heist films...well it is in a class of its own.

I've found it's almost impossible to predict what my opinion will be on a film that I haven't seen in many years. I recently rented both The Out of Towners (1970) and Going in Style. I hadn't seen either since at least the early 1980s, when I was still a teen. Before watching this time I would have predicted that they were both about equally good--that's what I remember from my earlier assessments. However, I ended up being slightly disappointed with The Out of Towners while I was blown out of the water by how excellent Going in Style is.

This is a film that's best to watch knowing as little as possible about the plot beforehand. For those who must know something of the story, however, it concerns three elderly men who are living together in Astoria, Queens (part of New York City)--Joe (George Burns), Al (Art Carney) and Willie (Lee Strasberg). They're on Social Security, which doesn't provide a lot of money--that's why they're living together. They spend most of their days in a park near their apartment, feeding pigeons, watching children play, and so on. Joe comes up with a very unusual idea to supplement their income and put some excitement in their lives. The first half of the film involves planning and carrying out the idea. The second half deals with the aftermath, and is kind of an extended character study.

The most remarkable characteristic of Going in Style is that writer and director Martin Brest, with co-writer Edward Cannon, managed to make a film that has elements of both almost absurdist comedy and deeply moving realist drama co-existing at the same time. Going in Style is a poignant portrait of old age, occasionally deeply sad and even pessimistic, but also very funny, and the three principal characters possess an almost Zen-like satiety, calmness and wisdom.

It's interesting to note that Brest later went on to direct films as diverse as Beverly Hills Cop (1984) and Meet Joe Black (1998). Going in Style has elements of both--Beverly Hills Cop's wacky crime-comedy and involved plot structure and Meet Joe Black's emotionally impactful minimalism and social/philosophical subtexts. Another way to describe the film might be in terms of another director, Woody Allen. Imagine Allen making Take the Money and Run (1969) or Bananas (1971), but in a mood much closer to Alice (1990) or even September (1987).

The performances are excellent, but Burns especially stands out. Joe is a very different character for him, much more serious and gruff--he's almost a bit of a "heavy". If Burns had been just a bit younger, Going in Style shows that he could have easily had a career make-over/turnaround via Quentin Tarantino, similar to John Travolta. Carney and Strasberg both easily paint complex characters, as well, and the chemistry of any two or more of them together is simply magical.

Brest, showing early inclinations towards minimalism, peppers the film with many extremely effective "pregnant pauses". These enable the cast to subtly stretch their mastery of comic timing and give more depth to the tragic or seriously emotional scenes. In both its comic and tragic modes, Going in Style tends to be a relatively "quiet" film--the tone/atmosphere reflects that Zen-like disposition that Brest and his cast create for the characters. We could easily see most of the film's "action" growing out of the pregnant pauses. Brest emphasizes this by loading early scenes with such pauses, such as when our protagonist trio are sitting on the park bench and hatching their plan.

The above might sound a bit ridiculous or overly abstract to some, but keep in mind that it's all part of Brest's touching portrait of old age (an incredible feat for a 27-year old writer-director, by the way). Joe, Al and Willie live day by day, because they figure that each might literally be their last day. They're not in a hurry to do anything. They prefer to soak up the fullness of each instant. They're mostly content with their lives and have accepted their mortal fates. Their scheme is relatively easy to pull off because with the slight exception of Willie, who interestingly has some issues from the past he is still trying to deal with and is thus a bit less comfortable with the present, they look at it as just another thing they can experience before they check out of the world, with the consequences of the scheme, no matter what they are, all having their advantages.

Brest works in a bit of sly social commentary more conspicuously into the script, as well. One example is the radio announcer who notes that the Gray Panthers are capitalizing on the events as a means to underscore the U.S.'s neglect of old folks. This is doubly clever because not only is the claim literally true, there are subtexts about opportunism, media influence, and so on. The above example is actually a very small detail in the film, but this is a film that has a wealth of such small details.

Joe, Al and Willie are three senior citizens who are tired of their mundane existence in the Big Apple. They share an apartment and try to save money any way they can, but inflation is still making it difficult for them to get by. Joe especially wants to find a way to end the monotony of their lives, and one day a thought strikes him: why don't they rob a bank? If they succeed, they'll be rich, and if they're caught, they'll be sent to jail where the state will provide them bed and board. Either way it's a win-win. Will Joe, Al and Willie pull off the caper, or will life deal the men yet another crushing blow?

Martin Brest's 'Going in Style' is a wickedly funny, poignant crime flick featuring sharp dialogue, brilliant performances and an original, unpredictable story. It is a portrait of the aging process that is both tender and cynical, about three men rebelling against a society that no longer respects or cares for them. Brest's screenplay is a biting, viciously witty treatise that is equal parts entertaining and affecting. It is most of all realistic- despite being filled with high comedy and borderline farcical moments, like the stick-up or a ridiculously successful trip to Vegas.

Billy Williams' cinematography is remarkably refined and naturalistic, unpretentious work that showcases his versatility behind the camera. Three years after shooting 'Going in Style', he would win the Academy Award for his grander, lusher work on Attenborough's 'Gandhi;' he was a malleable cinematographer whose style always suited the material perfectly. In addition, Carroll Timothy O'Meara and Robert Swink's editing is intuitive and flawless, adding unquestionable power to the film.

Michael Small's score is catchy and energetic, while also providing additional emotional impact in 'Going in Style's contemplative moments. The set design and decoration from Herbert F. Mulligan is impressive, with Joe, Al and Willie's apartment being most rich and convincing in texture and detail. Anna Hill Johnstone's costume design is also worth mentioning, capturing the down-at-heels nature of the central trio shrewdly.

George Burns stars as Joe, the main character, and has arguably never given a better performance on the silver screen. He showcases emotional depth and range that is so powerful, so natural; you wonder why he waited until he was 79 to start playing characters other than himself. He brings boundless energy and life to Joe, as well as righteous anger at the modern world with its' indignities and difficulties. He also makes the character wholly sympathetic and believable.

Burns once quipped "acting is all about honesty. If you can fake that, you've got it made." After watching him in 'Going in Style', you'll surely agree that he was one of cinema's greatest fakers. His is a touching, affecting performance that is most memorable and utterly compelling.

Art Carney and Lee Strasberg co-star as Al and Willie, respectively, and both are fantastic. Carney's Al is a good-natured fellow, and they couldn't have cast a more likable, charming or intelligent performer for the role. He comes across like the old uncle you always wanted, the kind who'd slip you sweets during dinner and tell jokes everyone in the family would laugh at.

Strasberg is the most bitter and grouchy of the three, but shows such emotional depth and vulnerability that you fully understand the character. A scene involving him reminiscing about his son is one of the single finest pieces of acting ever put to film. When you have Burns, Carney and Strasberg together- as well as strong supporting performances from the likes of Charles Hallahan and Pamela Payton-Wright- it's a truly unforgettable experience.

'Going In Style' is a brilliant, highly entertaining crime caper, as well as being a barbed examination of the process of aging. Featuring three strong performances from Burns, Carney and Strasberg and assured cinematography from Billy Williams, the film is not to be missed. Burns once said "you can't help getting older, but you don't have to get old." After watching the antics he and his pals get up to in 'Going in Style;' you'll see just how true that epigram is.

That is the quality imbued in this film by Brest, through the writing and direction. It would have been so easy to make a caper film, or a male-bonding buddy picture, but Brest does it the hard way so that we care about the characters and not the story. He fills each role with actors who look real, not pretty, like Charles Hallahan as Pete. He looks like someone who's worked all his life, not a person sent down by central casting.

And he is unafraid to let silence play a roll. How many directors would find 'suitable' music to waft in and out of the soundtrack as the three amigos occupy their bench? Here they sit in blessed silence until we wonder who will speak next, since Willie does not seem to want to open his mouth. When they get to Vegas, it would be so easy to do quick cuts of their winning streak with appropriate music blasting, but Brest stretches the scene so that we are not sure if they will keep their gains.

Any sentiment comes hard earned, like watching Joe stumbling around the apartment after the death of Willie, finding his own album of photographs and reflecting, only to have nature spoil the mood.

After watching the remake first this one seems more sad an depressing since all the guys actually look a lot older then the modern day actors and with some research they are the same age. Overall this was an entertaining film.

Martin Brest is best known for his popular successes BEVERLY HILLS COP, MIDNIGHT RUN and SCENT OF A WOMAN, but more recently his career made a bit of a tumble with the disastrous GIGLI (2003), starring Ben Affleck and Jennifer Lopez and snoozefest (and trying so hard to be 'profound') MEET JOE BLACK (1998), but this little gem is how he got noticed (and might even be his best effort yet).

The story is simple: three kindly old men (George Burns, Art Carney and Lee Strasberg), indistinguishable from the half-forgotten ranks of senior citizens you might pass on any city park bench in warm weather, decide to light up their lives by sticking up a Manhattan bank in broad daylight.

Don't be put off by the idea of 'three old guys robbing a bank.' This film is a delight in a very New York and very low-key fashion with hardly any grand scenes or set-ups, but with great writing, sharp dialog and the three leads giving their very best. Although the film was marketed as a comedy, it's above all a heartfelt drama and a truly moving portrayal of old age.

One of the highlights: when the three seniors are on a little trip to Manhattan and Art Carney starts dancing to the rhythms some Caribbean Street musicians. It's such a marvel to see 80-year old George Burns clapping and smiling and genuinely having fun at this improvised street scene. It's a shame this film is practically forgotten. A heartfelt, funny, and ultimately a very moving picture. Don't miss this one.

Camera Obscura --- 9/10

Lee Strassberg when he wasn't being the king of crime as Hyman Roth in The Godfather Part II decides to dabble in it along with his two elderly friends George Burns and Art Carney in Going In Style.

This film was impeccably cast. Strassberg we know, but Carney made his big screen bones with a Best Actor playing an elderly man in Harry And Tonto. And George Burns managed to extend his career decades with an Oscar for The Sunshine Boys and a slew of jokes about how old he was.

These three play elderly friends who in their declining years are having trouble making ends meet. Getting into that bracket myself I can certainly sympathize. But I'm not a nimble as these three and I doubt I could pull of bank robbery which these three decide is their solution to a cash flow problem.

They actually execute a good robbery, but they are amateurs.

Going In Style turns deadly serious when the strain of things kills two of them. The third survivor is the one in real life actually known for his unflappability.

Other than the leads the only character given any depth is that of Charles Hallahan playing Carney's nephew who does a fine job.

Going In Style on the strength of its elderly leads has some serious things to say about old age and how rough it can be. But the message is given wit and charm by its script and performances.

Three seniors, bored with just sitting on a bench decide to rob a bank. What happens is probably a sweetened version of what might happen if it were to really happen, or would have back when this movie was made.

This is probably George Burns, Art Carney and Lee Strasberg's shining moment on film. The acting of the three leads is perfect and conveys the boredom of life before the robbery, the excitement of the robbery and the confusion of the fall out. Why aren't more movies like this being made?

This is not a comedy. Yes its funny but there is a dark side to the film concerning not only the fall out of the robbery but also what it means to be old in America.

This is a low key, off beat gem of a film that hooks me every time I run across it on TV. Its wonderful and though everything doesn't go right, its uplifting in its way simply because we get to see real old people trying to get by and not Hollywood's version of them.

See this movie.

Joe (George Burns), Al (Art Carney), and Willie (Lee Strasberg) are three retiree roommates spending their days sitting on a park bench in Queens and waiting for their retirement checks. While waiting at the bank, Joe notices all the money and comes up with the idea to rob the bank. With little to lose, he convinces the other two.

This is a dark comedy. It has a few laughs while not consistently funny. The darkness is a slow build but it doesn't stop. The theme is mortality. Everybody faces their own. The deaths are a surprise. I thought they would do more robberies. This is poignant without the sugary sweetness of nostalgia.

What makes this movie so great is that it uses no gimmicks, cheap thrills, or other silly plot devices to keep the audience's attention. There are no explosions nor is there nudity or "shock" humor. This movie relies entirely on a great plot and great acting.

The story is grounded by the fact that the three principle actors behave exactly the way elderly men do. Even the occasional cuss word is perfectly placed. Althougn the movie is almost 40 years old, it holds up very well.

This movie has its funny moments, but is not really a comedy. Rather it is a blend of it all. Easily the most touching moment is when George Burns is looking through old photos of his deceased wife. The photos were of his actual deceased wife, Gracie Allen, and for a moment the fourth wall is unofficially crossed as Burns shows the audience his very genuine grief.

This movie woild be especially good for children to watch, as it shows genuine respect for the elderly, but also teaches the challenges of aging.

George burns and art carney were HUGE comedians in their day. Add on lee strasberg, and you've got three old retired guys, just trying to get by. But the bills are all going up and their pensions can't keep up. So they come up with a plan to rob a bank. But the real troubles start after the robbery. Lots of background and family development on some of the guys in this one. It's about more than just the heist itself. Charles hallahan costars as the son of one of the guys. Good stuff! Directed by martin brest. He was nominated for scent of a woman. Also directed beverly hills cop, and midnight run. This was one of the last things strasberg did. He died a couple years later in 1982. Hallahan died quite young at 54.

The movie is well thought out and acted. One can't condone their method to break their bored lifestyle but the movie does it in such a way as to be funny and, in a way, understandable. My only complaint is that a musical soundtrack wasn't made available.

A terrific gem of a film.

Three elderly men are so bored with their lives that they rob a bank and actually get away with it for a while.

The trio are all masterfully played by Art Carney, Lee Strasberg and George Burns.

With the robbery behind them, it's time for vacation in flashy Las Vegas. Coming back to face the ultimate music, 2 of our "heroes" pass on and leave the rest of the story and the loot to the survivor.

A sad but extremely effective commentary on retirement and old age. If you're contemplating retirement, miss this film until you know how you're going to spend your days.

Three old guys get bored and decide to rob a bank.

Interesting premise for this 1979 comedy.

First off, I'm a sucker for any movie shot in New York City in the 70s because I feel like I'm reliving my youth. This one brought me even closer to home because much of it takes place in Astoria, Queens, just a few subway stops from where I grew up. I enjoyed the shots of the guys strolling around the neighborhood as they planned their caper and also seeing them riding in the busses and on the subway.

The cast in this is pretty iconic and the movie was entertaining, if not rip-roaringly funny. I enjoyed it.

GOING IN STYLE is a sweet little film starring George Burns, Art Carney, and Lee Strasberg as a trio of oldsters struggling to survive on their pension money. They hit upon the idea of robbing a bank. What could go wrong? Filled with humor and heart and terrific performances. The Las Vegas scenes are a hoot. Burns and Carney especially deserved awards but the film got no attention until a remake surfaced in 2017. Despite its cast, the film forgot the heart.

Anyway, the 1979 film is a jewel. The amazing Burns was 83. When he met the 27-year-old director Martin Brest, he quipped, "I have neckties older than you." Burns and Carney had already won their Oscars by the time this was made. The scene where Burns goes thru his old box of photos (one shows him and Gracie Allen from the old days) is a killer.

"Going in style" is beautiful, funny, exciting, emotional and sad, a film of many layers and slick style carried by three main characters, all masters of the trade. George Burns is the main driving force of the movie, and it's really hard to believe that he was 83 when the movie was made. He acts like he was 50 years younger, and unpretentious, but bravura acting by him, Strasberg and Carney is greatly helped by witty dialog,and great directing by Martin Brest, who also wrote this gem, a simple story with a heart. Everything in this movie is done brilliantly, and the plot is worked out the way it should. Brest is actors director, who knows how to maximize on what he's got. He scored this high once more, with "Midnight Run", made some other decent movies, but "Going in style" is special in every way.

It's a pity that "Going in style" came out the same year as "Kramer vs. Kramer", "Hair" and "Breaking Away", it deserved many awards for it's principal characters, but it passed almost unnoticed. This film is not getting better, with time, IT STAYS GREAT. Excellent, a must see.