User reviews

Pure, tongue-in-cheek, humor from start to finish.

A near perfect film. Stanley Tucci and Oliver Platt make a great duo in this comedy about two starving actors.

Desperate for food, they decide to con a pastry chef out of some of his pastry. As previously planned, Platt comes to the pastry chef's "rescue", but instead of getting pastry, he gets two tickets to see hack stage actor, Jeremy Burtom excellently played by Alfred Molina.

Through a series of incidents, Burtom threatens the boys with imprisonment if he catches them, The two end up accidentally stowing away on a cruise ship and that's when everything gets complicated.

An excellent cast was assembled for this superbly funny script. Watch for Campbell Scott, son of George C. Scott. His portrayal of a Nazi-like ship steward is hilarious.

My hat goes off to Stanley Tucci for doing an excellent job writing and directing this film! I only hope more people can see this jewel.

A very amusing film. It has elements of the Marx bros, Laurel and Hardy, Grand Hotel and Some Like It Hot. Really an homage to the screwball comedy films of the 30's that were chock full of great character actors. The plot is skimpy at best but half the fun is guessing the previous credits for the great cast. Look for an un-credited performance by Woody Allen as a distracted Broadway director.

I rented this knowing nothing about it (not much of this kind of thing makes it to Kentucky). I just really like Oliver Platt. So I rented it one night in college, having nothing better to do...

And I loved it. It's really not like any movie I've ever seen. I'm not really a connoisseur of Laurel and Hardy or anyone like that--I'm just your average college kid, I guess. I don't like most American comedy, though, because it's a little too dependent on violence and switching one's brain off. But this movie was so different and so funny! It was silly, sure, but it was smart and really amusing. I love Steve Buscemi in everything he's in, and he was just TOO funny here. I was rolling in the floor.

And Campbell Scott was just great, I loved how he kept popping up at the most inopportune times. But my favorite part, I think, was that little bit with the Hamlet play. I've seen productions like this and known actors like that and it was just PERFECT! The archetypical actor who can't fit his inflated head through the backstage door. It was truly hilarious all the way through, and I don't know anything about what it could be based on. I just liked it a lot. But it's not your average American comedy, and it might inspire a love/hate response in many viewers. I think it's probably an acquired taste.

The working title SHIP OF FOOLS is appropriate. Never since the Marx Brothers took on the world, opera, and a ship of pretentious windbags has there been such a delightful comedy. It's too bad the film is being shown only in art houses. It is a gem of a comedy.

THE IMPOSTORS (1998) ***

Starring: Oliver Platt, Stanley Tucci, Lili Taylor, Steve Buscemi, Campbell Scott, Isabella Rossellini, Billy Connolly, and Hope Davis Written and directed by: Stanley Tucci Running Time: 102 minutes Rated R (for some language and sex-related material) By Blake French:

Certain movies are just not for all audiences. Stanley Tucci directs the new comedy, who is one of the creators of the 1995 drama-comedy "Big Night." The film is certainly not for everyone. It will satisfy fans of screwball comedies, and perhaps fans of someone in the cast-they may enjoy it. However, I only liked "The Impostors" because of the laughs it brought along with its well-written script. It is not your typical comedy. Now, I'm not saying that this movie is great. I am saying, however, that this movie satisfied me to the point of a recommendation.

"The Impostors" opens with a hilarious sequence in which the two main stars, Tucci and Platt, play two out of work actors, Maurice & Arthur, who play on a silent stage who have serious and comical problems with women, coffee, and each other.

Maurice & Arthur get in to trouble and escape from the police in a boarding box. However, while they were sleeping, the box was loaded onto a ship carrying an assortment of bizarre passengers that provoke even more laughs. They include a Nazi steward with tight lips, Lily, the social director who helps Maurice & Arthur, a First Mate who is a mad bomber, a tennis pro who is aggressively gay, an ex-queen in despair entertainer who wants to commit suicide, and many more.

The films casting was more to my liking than any other movie I have seen this year. The characters fit the actors so perfectly and realistically that I could have been fooled that these people were actually victims of a secret tapping of "Candid Camera." Each of them bring a story to themselves outside the plot. No one character is at the mercy of the script.

As for the script itself, it kept its cool even as it organized its own extremely complicated chaos. There are many laughs that evolve from hyperactive activity from the assortment of characters because there is such a variety, everything feels so fresh in this movie.

"The Impostors" is an opinion based movie. Certain film's don't carry massive plot holes, obvious flaws, or any other structural or character problem, but they don't necessarily bring anything overwhelmingly powerful to the big screen either. "The Impostors" is this kind of comedy. Whether you find it to your liking or not will totally depend on your taste in comic material in film. I was amused by the picture. Many filmgoers will differ on my opinion though. The individual I screened the film longed for its conclusion and declared this was the worst movie she had seen in her life. I recommend the film, but take into account your personal feelings on my review before you make a judgment call. "The Impostors" might make you laugh uncontrollably, but it also may cause you to turn your head in pitiful despise.

Brought to you by Fox Searchlight Pictures.

I loved this movie, yet I can see why others hated it. This is not the comic food we have grown up on. It is a different cuisine that tastes strange at first, but if given a chance, rewards with fresh, delicious sensations at every bite.

Early in this movie our actor heros take turns mugging an emotion on command. I think this moment is the key to understanding the entire film. Almost every scene is painted by facial expressions and body language. The editing lingers to give us time to enjoy each portrait, then cuts a bit further along in the story than we are used to. This unfamiliar timing gives the strong cast a chance to act rather than react. The story is about actors, but the movie is a tribute to comedic acting.

If you want a formula comedy, rent something else. If you want movie that is funny, warm, original, and brilliant and are willing to give its different pace a chance, put this film at the top of your list and plan to view it twice.

There's a scene in this movie where the beloved but down-on-his-luck singer Happy Franks takes the stage and tells his band leader to play a tender, weepy ballad for his opening number. "Isn't that a little slow?" the band leader asks.

That scene pretty much sums up this movie: Great performers get on screen and you expect a fast-paced, fun time, but instead get a slow, slow movie.

Who to blame? I'm going to have to go with Stanley Tucci. I like Stanley Tucci, but I don't think he's very funny. He plays half of the the film's title duo, and he's teamed with the hilarious Oliver Platt. Platt is great, likable, and funny. Tucci is not. His character has no sense of comic timing, and apparently neither does Tucci, as he wrote and directed this movie. It doesn't have the right pace for a comedy- it takes about half an hour to get them to the boat and have the plot start, and the things that happen before that aren't very interesting (save for a hilarious cameo by the great Woody Allen).

Once they get to the boat and the story begins, the movie picks up considerably. The cast in this movie is fantastic- Steve Buscemi, Billy Connoly, Tony Shalhoub, Lili Taylor, Alfred Molina, Dana Ivey, Hope Davis, Allison Janey, Isabella Rosselini- even the usually stodgy Campbell Scott is great in this. They are all fun to watch, even if they're not doing anything terribly exciting.

I want to like this movie, I do, but it's like watching an improvisational comedy class that goes nowhere. All the scenes that would be great in a "Deleted scenes" section on a DVD were never deleted. It's best when it's madcap and crazy like a Marx Brothers movie, but it's just not funny enough to be recommended.

Rented THE IMPOSTORS for the first time on Friday and by the end of the weekend had watched it 4 times - and yes, I do have a life. Blithe is the only word I can use to describe the experience of watching this video. In a world of multi-screen theaters that show a variation of 3 basic movies - mindless action, gross-out comedy, or big-screen version of the issue of the week - THE IMPOSTERS was a homage to an earlier genre - the silly, almost plotless comedies of Laura & Hardy. Homage - not remake - an important difference. This was definitely a 1990's movie - more quirky than slapstick, with slick production values. A series of vingettes, tied together to make a whole, yet each scene easily stands on its own as a comic gem - the initial credits being my personal favorite. One final word - all this and a great cast! and score. This movie was a rare 10.

The Imposters is an admirable movie. Stanley Tucci lovingly recreates a genre rarely seen in American movies anymore; the slapstick comedy as practiced by Laurel and Hardy and the Marx Brothers. The trouble with The Imposters is that Tucci's execution is missing something. And this something keeps The Imposters from being the laugh riot (and box office hit) that it really deserved.

If you are attuned to this kind of movie, by all means rent it. Tucci and Oliver Platt are very good as out-of-work Depression-era actors who stow away on a luxury liner to evade the law. The movie is chock full of excellent bit parts using such luminaries as Woody Allen, Isabella Rosselini, and Steve Buscemi. But the timing and pacing are often off base and action can drag.... so be forewarned The Imposters is not for everyone.

I'm dumbfounded by all the rave reviews here; how anybody could possibly compare this twaddle with Laurel and Hardy or the Marx Brothers is just mystifying. Not one laugh, not one. I'm sorry, but stupid is not the same as funny. Pauly Shore is funnier than this.

I was foolish enough to go into this with high expectations, having read a few pages of reviews here, all of them glowing with praise. And all wrong. Except for a few truthful ones on the very last page. Why is that? Almost as if somebody doesn't want anyone to find out how terrible this film really is.

The truth is, not even Steve Buscemi and Billy Connoly could save this mess. The comedic timing needed to make something like this work is completely absent. I would have to blame that on the director, who apparently knows nothing about comedy.

This is a top-notch comedy at the most audacious level. I once heard someone say that door-slamming farcical comedy never works on film; and I think this is one of the movies that proves them wrong. It reminded me of the brilliant stage farce "Noises Off" (which was also turned into a movie with fairly successful results).

I thought the opening title gags were brilliant, especially Oliver Platt. I loved Billy Connolly as a camp tennis player and Allison Janney as a gangster's moll. I also thought Alfred Molina, Tony Shalhoub, Campbell Scott, Steve Buscemi and Matt McGrath were brilliant as well. The pastry shop scene and Tucci crying poor were also outstanding highlights.

My only slight criticism with this film is that the pacing seemed a tiny bit slow at times, but otherwise this is an exceptional storyline. This is definitely the sort of movie I'd like to see a lot more of. It also proves that they CAN make 'em like they used to.

As others have pointed out, The Imposters is a comedy, but it's not a comedy in the "A Fish Called Wanda" or "Dumb and Dumber" vein. It's a sophisticated, frothy comedy that hearkens back to the days of "Bringing Up Baby" or "Merrily We Live." So if you enjoyed that type of comedy, this is for you.

Oliver Platt and Stanley Tucci (who wrote, directed, and produced) play two out of work actors in the 1930s. When they try to make a bakery owner angry enough to throw pastries at them, they fail, and instead are given two tickets to a bad actor's (Alfred Molina) Hamlet. Their insults of him in a bar are enough to send them hiding in a boarding box. They fall asleep and when they open the box, they find they're on a steamship headed for Paris.

As stowaways, the enlist the help of one of the workers (Lily Taylor) who has a pseudo-Nazi (Campbell Scott) chasing her around, so they have to be careful. Hiding in different rooms, they encounter two murderers (Allison Janey and Richard Jenkins), who plan on killing an old woman for her money. She is on the ship hoping her miserable daughter can find a man. Her daughter does - a suicidal singer named Happy Franks (Steve Buscemi).

There is also a Russian bomber (Tony Shalhoub) disguised as a first mate, a princess (Isabella Rosselini) who has been dethroned, a sheik, and a Greco- Roman wrestler. And let's not forget that Hamlet himself is in need of a sea voyage to recover from his bad performances.

Some real laugh-out-loud moments in this film, with delightful performances from Tucci, Platt, Shalhoub, and Buscemi especially.

If you like the old comedies, check this one out.

Four out of 10 is a generous rating for this disappointing lightweight comedy. At the beginning there are some promising scenes but 20 minutes in hopes turn to fears. The other three stars are for having Isabella Rosselini in it. Watching this movie is like watching your smarmy 12-year-old nephew do his own stand up: there is a lot of frantic effort and you know it's supposed to be funny, but you watch in embarrassment and horror for the performer and whoever's bright idea this was. Sadly, any comparison with well-done screwball comedies, Marx brothers, and Laurel/Hardy just highlights how Tucci's movie is lacking. More sadly, it might have been funny had there been comedic timing, better writing, and fewer moments that your 12-year-old nephew would think are absolutely hah-larious. A good cast couldn't save this movie for me. A character in an actually funny movie asked about a performance, "Is this rotten or wonderfully brave?" For The Imposters and Tucci, it's both.

Stanley Tucci really knows what he's doing. This film, which for some odd reason wasn't really very well received. This movie is funny and smart and very easy to like.

But the acting isn't just the reason that this film is one of my personal favorites, it's also because of the superb script. It's brilliantly paced and full of laughter and intrigue.

Tucci's film deserves a look, but really, watch the film as a comedy, don't take it too seriously.

3.5/4

After the magnificently-offbeat "Big Night", writer/director Stanley Tucci reunites "his" cast (including Tony Shalhoub, Isabella Rossellini, Alison Janney, Campbell Scott, Oliver Platt, to name a few) in another offbeat tale of two over-zealous, out-of-work actors (Tucci and Platt) who offend an over-rated thespian (Alfred Molina), flee from his wrath and end up on the very ship that he is taking a vacation cruise on.

From its opening scene homage to the silent-movie, this film characterizes itself as a vehicle which takes chances: Tucci and Platt engage in staged battle at an unsuspecting street-side café, Platt opting to "be killed" by Tucci, even though - we are to learn in the successive scene - that it was, in fact, Tucci's "turn to die". One twitch on the side of non-conviction and this delicately-humorous tableau would have fallen flat. Tucci pulls it off directorially *and* comedically.

Ultimately, "chance-taking" is a double-edged sword, and teetering on that blade will either get you lauded as a genius or slice your bollacks off.

Tucci's film is Damoclean in that the blade grimly alerts us to its presence many times, but is ultimately stayed by Tucci's deft comedic hand. For instance, editing seemed strained in a sequence which saw Tucci and Platt seeking a room on an ocean liner to conceal themselves - yet through this device, new characters were introduced to the mélange; then too, certain characters are colorfully realized whilst others float wraith-like through the script – until Tucci's clever storytelling unites all these disparate strands at the Captain's Ball, when a character bellows "Impostor!" and we see how each of the varied players may be guilty of that accusation, all of whom flee at the indictment, which is, of course, not even remotely aimed at them.

Alfred Molina, scenery-chewing like Tim Roth on crank, is that bellowing character, his dexterity at mutton-headed slapstick a revelation; Billy Connolly shines as the aggressively-gay tennis pro; Tony Shalhoub is overboard as the ambiguously-foreign, terrorist First Mate, but no one can upstage the singularly uproarious performance by Campbell Scott, opting to veer off the grid completely in his rendition of Nazi purser, Meistrich.

Though Tucci's script stoops to Stooge-like pratfalls at times, he stays ahead of the Great Unwashed's pedestrian sensibilities by embellishing it with brilliant minutiae, sprinkled liberally - the bedraggled shot of Molina during an intermission of his "Hamlet" and his melodramatic apology to the theatre audience, replete with crooked wig and burp; Platt's mindless, drunken soliloquy, including dialog which seems to be way off-script ("Boozy boozy boy! – sucky farty boy! - I poke you I poke you I poke you!") – and then there's Campbell Scott, who arguably steals the movie, whether entering the frame and making the soundtrack skip off-record, or propositioning the Social Director (a beautifully "Brick House" Lili Taylor), or impassively telling the ship's discomfited detective (played with witless Euro abandon by Matt McGrath), that learning how to kill people, "is not that hard"; Shalhoub's passionate radio call to his lover, including more seemingly off-script entreaties ("Touch me pure! Touch me good! Touch me hard!"); Connolly's man-wooing of Platt with seductive scenarios of wrestling naked on the steps of the Acropolis, "that's where we'll wrestle, my semi-Grecian lad – that's where I'll make a man of ye!"

And the *joie de vivre* of the last dance sequence is an utterly contagious masterpiece of the director's self-awareness, which could have easily gone awry. These are not "unknowns" peopling this film – any one of these well-respected actors could have mutinied Stanley's decision to unify them in this last, ridiculously-genius dance number. Instead, they joyously partake of the bunny-hopping and arm-waving like a naive coterie of first-year acting students who have nothing to lose; in doing so, beautifully rounding off a superbly-entertaining film. This dance sequence, which takes them outside the set, through the crew, across the camera tracks and ultimately out of the studio building, is Stanley's knowing nudge to movie viewers on many levels and seals his brilliance as a director willing to take those offbeat chances. One of those rare "Gee-I-wish-I'd-thought-of-that" moments in film. Here too, we are indulged with the prominent soundtrack, which lent itself perfectly to complementing the film's action with its noticeably-distinct, recurring themes to signify melodrama, suspense, romance and slapstick.

Is it just me, or has everyone already pegged that Tucci and Platt's first names echo those of a past generation's legendary comedy team? Stanley tips his glass at Oliver to utter the film's last lines: "To life, and its many deaths."

(Movie Maniacs, visit: www.thedunmore.com/POFFY-MovieReviews.html)

I'm afraid to say too much about director/writer/co-star Stanley Tucci's follow-up to BIG NIGHT because I don't want to spoil any of its sublimely insane surprises! This rollicking screwball comedy follows two dedicated but starving actor pals (Tucci and Oliver Platt) on their increasingly nutty adventures in 1930s NYC and aboard an ocean liner. The all-star indie film cast includes many of Tucci's co-stars from BIG NIGHT (including BN co-director Campbell Scott as the cruise's officious German director), many of them in change-of-pace roles. For example, it was a delight to see Lili Taylor get to exercise her flair for comedy as the pretty, plucky activities director being romantically pursued by both Scott and Matt McGrath. Although many have compared THE IMPOSTORS to Laurel and Hardy, I think its sophisticated air and sly playfulness make it more like Woody Allen meets The Marx Brothers. If you want to be swept away into a sea of laughter, THE IMPOSTORS is well worth seeking out at the local video shoppe!

The Impostors is a film made purely for comedy's sake. The characters and plot both exist for one reason: to make the audience laugh. Films like The Naked Gun and Austin Powers were of this genre, and worked for one reason: they delivered the laughs. Plot development and sophisticated dialogue play no part in this type of comedy, so if the film isn't funny, there is nothing to fall back on. In this way, a movie like The Impostors must be funny throughout in order to distract the viewer from the silliness of the plot and characters.

The Impostors both fails and succeeds in this way; some parts are as hilarious as they are meant to be, while other parts leave the audience shifting in their seats. The unfunny scenes seem to carry on and on, giving the viewer time notice just how silly the film really is. This turns out to be one of the movies biggest problems.

Other films of this nature combat this problem by firing the jokes off one after another, so that if one joke bombs there is another to take its place. The Impostors needed to utilize this technique more. This is not to say that the film was a dud. Many scenes and characters are very funny, but the bad ones tended to be very noticeable.

The Impostors revolves around Maurice and Arthur, two veteran actors in Depression-era New York, trying to earn a living through acting. Parts are scarce though, and the two spend their days honing their skills by acting out 'scenes' with made up characters on the unsuspecting public. After a wild chain of events, Maurice and Arthur end up as hunted stowaways on an ocean liner headed to Paris, where they become entangled in the lives of the other quirky passengers.

The Impostors has the feel of a silent movie; every gesture, facial expression, and action seems to be exaggerated for comedic effect. Many of the scenes would be funny even without the dialogue. Slapstick humour runs throughout the movie creating that silent movie feel. The Impostors plays out like Saturday Night Live sketches pieced together to form a plot. This method has funny results, but when one 'sketch' fails the whole movie suffers.

Maurice and Arthur are played wonderfully by Oliver Platt and Stanley Tucci, respectively. The two characters weasel their way into the hearts of the viewers from the very beginning, just as characters in a good buddy movie should. Platt and Tucci's relationship is based on a Laurel and Hardy model, or for a modern reference, David Spade and Chris Farley. There are other great performances from characters on the ship. The Impostors has a good cast with Woody Allen, Steve Buscemi, Lili Taylor, and Isabella Rossellini in small, one dimensional roles. The funniest performance by far is Campbell Scott in his role as Meistrich, the German ship director. Meistrich comes complete with a monocle, a scar, a thick German accent and the attitude of World War Two General. When he is not hunting down the stowaways (Maurice and Arthur) his is trying to win over Lili Taylor's character, Lilly, with hilarious results.

The Impostors concludes with the cast suddenly dancing joyously off the set and around the studio where the filming took place. Obviously the actors enjoyed making the movie; the performances during the film and the dancing afterward attest to this. In fact, it seems they had more fun making the movie than audiences will have watching it. The Impostors makes a good effort, but in the end it isn't quite funny enough to pull the whole thing off.

Simply awful. I wanted to stop watching during the opening credits. THE ONLY decent part of this film....was the dance number at the end credits. Horrible. Awful. Terrible. This was NOT worth even a $1 rent.

This film is hilarious and brilliant! It's underrated and so much better than those gross and pointless movies in which the joke is always at the expense of another or about disgusting topics.

One can imagine talented actors getting together for fun in an empty space to do something just because they like it. This has that feel. As you can see, Tucci gathered together a pretty good cast in a comedy set during the golden age of silent film. Whether the comedy works or not is going to be a personal taste matter. What does work for me is watching (future) well known names and faces play.

Stanley Tucci wrote, co-produced, directed and stars in this happy, but only moderately successful comedy about two out-of-work actors--so unemployed they are reduced to staging wild scenes in restaurants just for the food--who get on the wrong side of a drunken stage-star and end up as stowaways on a cruise ship. Very broad, occasionally funny, but the humor and the R-rated language don't really match up with the 1940s scenario (the vulgarity feels forced and heavy-handed). Tucci is a wonderful ham actor, and he's well-matched with Oliver Platt, but his direction is shaky and some of his jokes are mean-spirited. For those who stick with it, the finale is admittedly terrific. ** from ****

This movie is a wonderful inside joke about the art of acting. The characters are wonderfully over the top and hilariously brought to life by a funny script and fabulous cast, who obviously had a great time making this movie. Who wouldn't? Every time I see it, and I see it often, it makes me smile. Another reviewer aptly observed that if you are expecting the typical formulaic Hollywood "comedy", this ain't the picture for you. So true. This is closer to pure French Farce. Written and directed with much love for, and a great sense of humor about everything associated with theater and acting. Bravo Mr. Tucci.I know it didn't make a lot of money, but I hope you write and direct more. You are wasted in pictures like "Burlesque".

Probably one of the best homages I've seen in years to 30's comedies. Humorous comedy tells that of two dirt poor, out of work actors (Stanley Tucci, Oliver Platt) that are so poor, they have to scam food off bakeries. The two of them attend a play where a snobbish, overrated actor (Alfred Molina) is performing. The two of them offend the actor by insulting him in a bar behind his back. He takes it to the max by declaring it as assault and the two of the actors run from the police and end up as stowaways on a ship where they meet a group of eccentric people including a ballbusting German (Campbell Scott), a sweetheart (Lili Taylor), a suicidal comedian (Steve Buscemi), a treacherous employee (Tony Shalhoub), and a husband and wife pair of scam artists (Richard Jenkins, Alison Janney). Another guest on the ship includes the offended actor and has the two of them yet again on the run

This movie is very comical and the chemistry between Platt and Tucci is well matched as bumbling actors. Top notch performances are also among the cast including Buscemi, Taylor, and Scott. A well scripted comedy that plays off like a stage play played off as a movie. Grade: B+

Although there are several very funny moments in this "non-stop farce", they don't add up to anything remotely coherent. There are far too many characters thrown at you throughout the movie and as a result, none of them are developed and the entire endeavor falls flat. About 30 minutes in I didn't care about anyone in the film and the running around a cruise ship that was supposed to be such madcap fun was instead maddeningly repetitive. Steve Buscimi's character was fun to watch, and there were a host of good ideas that might have made a good movie if they weren't suffocated by hundreds more mediocre ideas.