Going In Style (2017)
Director: Zach Braff
Screenwriter: Theodore Melfi
Starring: Michael Caine, Morgan Freeman, Alan Arkin, Ann-Margret, Matt Dillon, Joey King, Christopher Lloyd, John Ortiz, Peter Serafinowicz
Zach Braff’s 2017 remake of Going In Style brings together veteran stars Michael Caine, Morgan Freeman and Alan Arkin in a caper about aging, friendship and financial insecurity. Adapted by Theodore Melfi from Edward Cannon’s original 1979 story, the film updates the premise for a contemporary audience: three retired friends resort to robbing a bank after their pensions are suddenly cut off. The concept foregrounds themes that remain relevant—elderly financial vulnerability, dignity in retirement, and the value of lifelong companionship—while relying on the charisma and experience of its lead actors to carry the emotional weight.
The story centers on Joe (Michael Caine), who, after experiencing a traumatic armed robbery at his local branch, becomes the unlikely instigator of the plan to hit the bank. Casting Caine in this role feels deliberately referential; his long career includes iconic turns in heist cinema, and his presence adds a layer of playful meta-commentary. Caine anchors the film with a natural, worn gravitas—he brings the sense of a life lived fully to the role without attempting to eclipse the characters around him. Morgan Freeman and Alan Arkin, as his co-conspirators, complement him with steady, amiable performances. While none of the leads deliver career-defining work here, their chemistry is the movie’s strongest asset: their interactions generate warmth, wit and a believable portrait of lifelong friendship.
Going In Style shares tonal similarities with other ensemble comedies that focus on older protagonists, such as Last Vegas (2013). It intentionally adopts a slower, more reflective pace that privileges character beats and light-hearted humor over high-octane thrills. Supporting performances contribute to the film’s charm: Christopher Lloyd’s portrayal of a character living with Alzheimer’s is played with sensitivity, balancing humor without descending into mockery, and Ann-Margret brings a playful energy as a character who challenges stereotypes about aging and sexuality. These moments of nostalgia and human detail lend the film moments of genuine tenderness.
Visually, Braff’s direction is unobtrusive. Where his earlier independent projects—Garden State and Wish I Was Here—displayed a distinct visual and tonal personality, Going In Style opts for a safe, studio-friendly approach. That choice results in a clear, accessible look that serves the story but rarely surprises. Transitional devices, such as skyline shots of New York, are used to stitch scenes together, but they sometimes read like generic broadcast-style bridges rather than distinctive cinematic flourishes. The overall aesthetic reflects a deliberate simplicity: the film aims to be comfortable and familiar rather than formally experimental.
One element that interferes with the film’s cohesion is the musical score. Composer Rob Simonsen provides a soundtrack that often feels mismatched to the film’s emotional register, at times drawing attention away from the scene rather than enhancing it. Simonsen has delivered strong work elsewhere, but here the music occasionally undercuts the film’s intentions, leaning toward a tonal shorthand that recalls television procedural cues more than a feature film’s expressive underscore. This creates unevenness in pacing and mood that the performances alone cannot always overcome.
Production and marketing choices also shape the viewer’s perception. The film’s glossy finish and studio sensibilities suggest a cautious, broadly commercial approach from the producers. That commercial sheen, combined with marketing that emphasized the cast more than the film’s distinctiveness, positions Going In Style as an easygoing, crowd-pleasing entertainment rather than a major artistic statement. For some viewers this will be sufficient: the movie delivers dependable humor, moments of genuine heart, and the appeal of seeing beloved actors together. For others, it will register as a pleasantly forgettable remake that plays it safe.
Despite its shortcomings, Going In Style remains watchable thanks to its leads. Michael Caine, Morgan Freeman and Alan Arkin provide enough warmth and comic timing to keep the narrative moving, and the script delivers a handful of touching beats about dignity, loyalty and the indignities of aging. The film will likely appeal to audiences seeking gentle, character-driven comedy with a sentimental core, even if it falls short of becoming memorable cinema.
Score: 10/24