Going in Style
Going in Style arrives as a comedy directed by Zach Braff, and its first strength is a clear sense of purpose. Michael Caine and Alan Arkin give Going in Style a recognisable human centre before the larger mechanics take over. The central situation in Going in Style comes into focus without a long explanation: Desperate to pay their bills and support their loved ones, lifelong pals Willy Davis, Albert Gardner, and Joe Harding risk it all by robbing the bank that absconded with the pension money that they earned from working there for years. Across its 1h 36m running time, Zach Braff keeps Going in Style alive in individual scenes and uncertain between them.
The thematic thread that gives Going in Style weight is embarrassment, status and the gap between confidence and reality. Michael Caine grounds that thread so Going in Style never has to choose completely between entertainment and reflection. A recurring focus on Willy Davis gives the ideas in Going in Style enough dramatic pressure to matter. Under Zach Braff, Going in Style works best when viewers are invited to notice the theme before any character explains it.
Going in Style demonstrates the value of comic timing built around character by making a technical decision feel inseparable from dramatic intention. For De Line Pictures, the production of Going in Style balances comic timing built around character with enough restraint to keep performances visible. The United States roots of Going in Style lend useful character to well judged reactions across the central locations. What makes the finish of Going in Style convincing is the willingness of its sound and image to step back when a quieter reaction matters more.
As director of Going in Style, Zach Braff proves alive in individual scenes and uncertain between them in the transitions between intimate material and larger demands. A strong scene in Going in Style often begins with a modest detail before Zach Braff lets its meaning expand. For Going in Style, the cast and craft keep the experience watchable because the central tone remains visible even during busy passages. The weakness in Going in Style is that too many scenes explain effects the actors have already suggested, although Zach Braff usually finds the original rhythm again.
Going in Style finds its clearest story engine when Desperate comes into conflict with Willy Davis. That engine gives Michael Caine something concrete to pursue and protects Going in Style from empty movement. In the hands of Theodore Melfi, Albert Gardner becomes a useful complication rather than a detached twist within Going in Style. The final use of Joe Harding is familiar, but Going in Style has already established enough context for the turn to matter.
Michael Caine approaches Going in Style with a useful mixture of commitment and restraint, making the role feel inhabited. Alan Arkin provides Going in Style with an effective change of temperature whenever their character enters the scene. Even in limited space, Ann Margret gives Going in Style another recognisable personality rather than a simple plot function. Zach Braff maintains a shared performance language across Going in Style, which matters when tone or pace begins to shift.
Overall, Going in Style amounts to an uneven film with enough personality to remain interesting and should suit comedy fans who respond to personality and timing. The combination of Michael Caine, Zach Braff and comic timing built around character gives Going in Style a specific identity. Although too many scenes explain effects the actors have already suggested in Going in Style, the film recovers through craft and committed performance. For the audience it understands, Going in Style offers enough character to remain worthwhile after the immediate plot has faded.
Comments