Grimossfer Clever and entertaining enough to recommend even to members of the 1%

Catangro After playing with our expectations, this turns out to be a very different sort of film.

Rio Hayward All of these films share one commonality, that being a kind of emotional center that humanizes a cast of monsters.

Sameer Callahan It really made me laugh, but for some moments I was tearing up because I could relate so much.

mark.waltz and he's going to really turn the life of his (much) older brother Frank Sinatra upside down. Newcomer Tony Brill portrays an innocent unaware of what he is getting himself in for moving onto Sutton Place in Manhattan. Free of his meddling parents (Molly Picon and Jack Kruschen) and their Yonkers home, Brill allows brother Sinatra to take him out on a glorious shopping spree to mold him into a younger version of his older brother. Before you know it, Brill has taken over and Sinatra finds himself acting like his domineering father whose constant slamming of doors causes chandeliers to fall.This hysterically funny Neil Simon comedy isn't a great movie, but gets a higher rating simply because of its laugh quotient. There are also several moments that seemed like song cues, and one time, when Sinatra breaks into the title song (during the shopping spree), it actually happens. Brill is hysterically funny going from innocent to ring-a-ding-ding playboy, throwing a "Breakfast at Tiffany's" like party, and getting perhaps too big for his britches when Sinatra gets him to pretend to be a movie producer from Hollywood.Kruschen and Picon are so funny, but nothing is more hysterical than watching the lovable Picon playing reluctant frustrated secretary when she begins to answer Sinatra's phone calls after popping in on Brill unannounced to beg him to return home. The sight of this diminutive woman running around this obvious playboy's apartment looking for a pencil is a visual you won't forget. Picon makes her Jewish mother endearing and so lovable that you want to just pick her up and hug her.While Picon and Sinatra don't share scenes until the end (because of the obvious difference in their appearances), I half expected Picon to tell Sinatra "We needed to share one scene in this movie" when he asked her why she was there. It is mentioned that Sinatra (who works for Kruschen's factory that makes glass fruit) takes off both Jewish and Catholic holidays (as well as Halloween!) so perhaps Kruschen and Picon have a mixed marriage; That is never confirmed.Then, there are the ladies in Sinatra's life: the beautiful red-headed Jill St. John (too intelligent seeming to be playing a bubble-head), Phyllis McGuire (as the sadomasochistic business associate from Dallas) and Barbara Rush (as the wife and mother type). The film may seem a bit too much like a stage play in some scenes (minus the songs it seems to be about to break into), but is still a lot of fun.

tforbes-2 "Come Blow Your Horn" is an interesting artifact from the early 1960s. While some aspects of the film strain for credibility, there also have been worse films produced.OK, Frank Sinatra was 47, and was only four years younger than Lee J. Cobb, who played his father. But he is fun to watch, and we get to see how time is catching up with this swinging single. And we can accept him playing the older of two sons in a Jewish family.One major plus for the movie is having Molly Picon and Mr. Cobb playing the parents; their own backgrounds add credibility to their roles. As for their surname being Baker, it was and is not unheard of Jewish families to change such names to something more "American." That happened not just in the entertainment industry, but across the board. And given that the older Mr. Baker was a businessman, it would stand to reason.I tuned into this because I am a fan of Jill St. John; she is not served terribly well in this production. Phyllis McGuire, Barbara Rush and Dan Blocker fare better here.It's entertaining fare, and a cool curio from an era 50 years ago, but hardly Oscar material. You could do worse.

JasparLamarCrabb An awful movie version of the Neil Simon stage hit. Frank Sinatra is woefully miscast as a Jewish mama's boy who invites younger (MUCH YOUNGER) brother Tony Bill to live with him and join in on his swinging lifestyle. The great Lee J. Cobb and Molly Picon are ideal as their overbearing parents, but the genealogy just doesn't mesh. The entire cast is at sea with what is really an unfunny script and even foxy leading ladies Jill St. John and Barbara Rush are upstaged by the the film's art direction (Sinatra's apartment is a quintessential '60s bachelor pad!) It's difficult to know what in this film could have appealed to Sinatra, he's way too old and completely unconvincing in a role perhaps better suited for Jerry Lewis (yes, Jerry Lewis) or even Tony Curtis. Directed, with extreme dullness, by Bud Yorkin.

ianlouisiana "Come blow your horn" marks the start of Mr Sinatra's descent into self-parody .He was at least ten years too old for the part of a perennial bachelor grooming his younger brother into a carbon-copy of himself.Even in 1955 for "The Tender Trap" he looked vaguely disturbing as he pursued the much younger Debbie Reynolds.You almost expected him to break into "Have some Madeira m'dear" and twirl the ends of his metaphorical moustache.By 1963 his style of ageing hipster,tight trousered Italian shod charm was wearing a bit thin.All the women in his movie world were large-breasted bouffant-haired long-legged airheads,the men cool wise-cracking "in with the in-crowd" kind of guys,but not quite as cool and wise-cracking as Mr Sinatra himself of course. Neil Simon's plays have a peculiarly American popularity in much the same way that the late Terence Rattigan's had an appeal for a mainly British audiences.The arcane social practices of his middle class characters are often as mysterious to us as Mr Rattigan's must be to a U.S. audience. "Come blow your horn" features Miss Molly Picon and Mr Lee J.Cobb as a bickering angst ridden Jewish couple(is there any other kind on Broadway ?)with Mr Sinatra and Mr Tony Bill as their two sons.A harsh critic might rail at the casting of Mr Sinatra as a middle-aged single Jew,but hey,this is Broadway,right? Mr Bill is fine in a small furry animal kind of way,perhaps a marmoset or lemur,unused to appearing in daylight.Mr Sinatra is Las Vegas smart,like a third-rate lounge act,existing in a state of permanent priapism,no wonder his mother worries about him.An assortment of "broads" move to and fro within their orbit,the less fortunate ones catching their eye.Mr Dan Blocker,lately "Hoss" in "Bonanza",steals the movie by being the only recognisably human character.He is far better than the film deserves as a cuckolded husband. When I saw this film at the "Carlton" cinema in Forest Gate,East London over 40 years ago,the world was much more easily amused.When the opening shot of Mr Sinatra's parents' house came up on the screen,the appearance of the word "Yonkers" was greeted with gales of laughter.In order to achieve the same effect today Mr Sinatra would have to blow away several " 'ho's" with a large calibre shotgun,whilst chomping on a cigar and screaming "Die Motherfxxxxxxx" before soaking their still twitching bodies in petrol and setting fire to them.They could call it "Come blow up the 'hood"