Midnight Run

DeNiro is (Jack Walsh) a self-righteous ex-cop so unpopular with the Chicago police department, now wanting to make one final 'midnight run' that'll pay big so he can buy a nice coffee shop…

He is hired by an hysterical bondsman to find and bring back a former Mob accountant called Jonathan "The Duke" Mardukas (Grodin) who has stolen $15 million from the Los Angeles mob, given the money to the 'unfortunates of the earth.'

DeNiro quickly captures the 'white-collar criminal' in New York, and is given five days to bring him to Los Angleles, to collect his $100,000 fee...

Unfortunately for DeNiro, the fugitive accountant is too neurotic to fly the distance... The embezzler's ex-boss wants him badly for knowing all his financial transactions, and agent Yaphet Kotto warns Walsh not to interfere with the FBI's plans to bring the 'Duke' into federal court… And if this isn't enough, there is some third-rate bounty hunter (John Ashton) who is intrigued about DeNiro's special deal…

In an extended cross-country chase, the two men's personalities and relationship develop…

DeNiro shows how to catch talents of improvisation... His cheeky schoolboy look certainly supplies some of the film's lighter moments... He delivers some of the best punchlines, when he replies: 'Well if you don't cooperate, you're gonna suffer from fistophobia.'

Charles Grodin is perfect as the prisoner who gets some of Serrano's records on computer disks, figuring if things got too rough, he could always trade them for his life… He continually gets on DeNiro's nerves, and with his soft and ironic tone of voice he advises Walsh that a restaurant is 'a very tricky investment.' He easily dips into Jack Walsh's life ('Don't you want to be loved?'), wandering about his broken marriage ('Did she hurt you, Jack?'), his habits ('Cigarettes are killers. Put the cigarette out.') and whatever he can think of...

The best parts of the film are, in fact, the interactions between the two stars… The story holds up perfectly and entertains the viewer in every way… Martin Brest does bring out the realistic, funny and moving sides of his likable characters… Suspense is maintained to the very end

Wish they still made movies like these. This movie is perfectly structured and extremely entertaining. The dialogue is wonderful, funny, and sincere. Highly recommend if you haven't seen this yet.

The first time I watched this movie, I immediately started it again after the credits rolled. Loved it just as much the 2nd time, and over the years, I can honestly say that almost anytime I watch Midnight Run, I usually end up watching it a 2nd (and sometimes 3rd) time within the next few days.

I'm fairly certain the reason for this is that it's evokes such a feeling, creates such a time and place, that I'm practically nostalgic for watching it the minute it ends. Part of that has to do with Danny Elfman's score, and part of it has to do with DeNiro's and Grodin's performances, but more than anything, it's the fact that they just don't make movies like this anymore.

Midnight Run is without a question a perfect movie, but more importantly, it's a time vessel back to an era where you could tell this kind of story, and make a movie like this, and everyone comes out on top.

I love this movie like I love my childhood.

Jack Walsh is an ex-cop turned bounty hunter working for bail-bondsman Eddie Moscone. Looking for another job to bring in, Jack is presented with an ex-mob accountant, Jonathon Mardukas, who has ripped off the mafia for millions of dollars and has gone on the run. Using the very basic tricks of his trade, Jack easily finds and catches his man and prepares to transport him back to Moscone and collect his pay. However, with the FBI, the mafia and other bounty hunters all looking to bring in Jonathon for differing reasons, Jack has a hard road ahead of him – and that's before he discovers Jonathon's phobias about planes.

In terms of cinema, I remember the 80's for one main genre – the buddy movie; the genre continues today but that is my overriding memory of the films I saw during this time and since then from the period. Hardly a dynamic hotbed or imagination and innovation, the genre did throw up many films that are quite enjoyable if you meet them on their own terms and it did occasionally produce some that are very enjoyable and still stand up years later – for a combination of reasons, Midnight Run is one of these and, for my money is a great street smart comedy. Of course it is still a genre film but the plot is well written combining a reasonably engaging story with a fun series of set pieces. While it is not laugh our loud funny apart from maybe once or twice what it does manage is to have a comic tone to it and a great sense of fun and energy throughout. It is hard to describe but it is one of those films that just feels comfortable and fun to watch.

A major part of this is the fantastic playing of the actors – the cast and their chemistry go a long way to making this a better film that it may have been in other, less able, hands. De Niro plays his well-practiced tough guy but allows himself to be the butt of humour if not out and out jokes. What he (and the writers) did very well was to keep the audience on his side even though he was basically transporting Jonathon to his death! He comes off as a likable guy and De Niro takes what many other actors have made into a clichéd part and really made it his own. His easy chemistry with Grodin also helps a lot and the two really so work together thanks to a good comic performance from him. Of course in a more serious film, Jonathon as he was would be very unrealistic but Grodin's delivery suits the material and tone of the film perfectly. The support cast are all given minor roles to share out and they all contribute in their own little way. Kotto gives plenty of laughs with a minor character. Ashton has less time and a less likable character but still does OK; Farina could not look more 'mob' if he tried; Pantoliano swears a lot and is amusing while minor roles for the like of Walters and Hall add to the cast in cameos. While the film has a deep cast, it really belongs to De Niro and Grodin, both of whom really deliver and have an easy chemistry between them befitting the genre.

If I had a complaint it would be the sheer volume of swear words in the film; the first time I saw it was on ITV (that most notorious of editors – they cut whole scenes out of Die Hard due to swearing!) and it was cut to shreds with plenty of badly dubbed lines and scenes just removed due to language. Personally I'm not overly bothered by it but it is such a fun film that it seems a shame to make it unsuitable for children by such liberal use of the F word (one or two can be forgiven but every other word pretty much makes it unsuitable), but I suppose it is all part of the tough but fun tone of the film and I enjoy it regardless.

Overall this is not one of the greatest films ever nor one of De Niro's best but it is a very, very good genre film and, in my mind, stands out from many other buddy-style movies that have been made in the crime/thriller sort of mould. The plot mixes a good story with many fun set pieces and keeps a solidly enjoyable pace all the way through while a roundly strong cast all make better use of the script than lesser actors could have done. A very enjoyable genre film and one that I will keep coming back to due to its reliable mix of pace, energy, fun and excitement.

I had never seen this, but what a great road movie. And what a cast, starting with the lead (De Niro) down to all the other roles. Some are "minor" I reckon, but even seeing someone like one of the Beverly Hills Cop "sidekicks" in this movie is quite great. And I don't mean any offense by that, because the character he portrays here is so very different from the earnest cop he plays opposite Eddie Murphy to elevate his comedy.

So yes the actors are great, but it's also a real fun script and story you get to see here. A prime example of a good cop and buddy movie right here. Chemistry is through the roof and it's believable as far as the rules of the movie allow us to connect and suspend our disbelief.