A paroled bank robber is forced back to her former trade when her son is kidnapped and the ransom is robbing a particularly well-protected bank. — Genre: Feature Film-Action/Adventure — Rating: PG13 — Release Date: 27-MAY-200... more »3
Elizabeth B. (bethieof96) from NINETY SIX, SC Reviewed on 6/28/2013...
This movie was good and Kim Basinger was great. Not too violent but plenty of action. 4 1/2 stars.
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Ronald S. (Tony) Reviewed on 3/6/2011...
This one keeps you on the edge of your seat. Lots of turns throughout. The actors all worked well with each other all through the movie. I enjoyed it.
Michael Butts | Martinsburg, WV USA | 11/22/2005
(3 out of 5 stars)
"It's always nice to see Kim Basinger. A lovely woman and a competent actress, it is her presence that makes THE REAL MCCOY a tolerable bank heist yarn. Basinger plays a slick bank robber who gets out on parole after serving six years of a ten year sentence. Her smarmy husband (an obnoxious Nick Searcy) has told their young son that his mother is dead, but Basinger is determined to have some kind of relationship with the boy. She hooks up with Val Kilmer who plays a fan of hers and who also entices her to do a bank heist for creepy Terence Stamp. Seems that Stamp is the culprit responsible for Basinger's imprisonment, so she doesn't want to have anything to do with him. But Stamp has other plans and kidnaps the son to force her to do the heist. Basinger does well with the conflicting maternal instincts, telling young Patrick that she is a friend of his deceased mommy. The heist itself is staged well by director Russell Mulcahy, but the end result is fairly obvious and even though Basinger has plans of her own, we find ourselves hoping she, Kilmer and the boy come out on top. Mindless entertainment, but certainly not a dog."
Inessential yet Unoffensive Heist Yarn
Leif Sheppard | United States | 09/26/2009
(4 out of 5 stars)
"As a director of music video clips, Russell Mulcahy is something of a living legend. Aside from directing the first video MTV ever aired (back when they did that sort of thing), he also helmed the clips for acts like The Rolling Stones, Elton John, Queen, Billy Joel, and a myriad of other artists. It may take a handful of film class periods to wholly examine his prolific work in the eighties.
As a film director, however, his work is much more difficult to digest. Ricochet and Resident Evil: Extinction are able actioners, but his only real classic is Highlander. Needless to say, it's classic of the most cultish variety, which was probably inevitable considering lead Christopher Lambert is as wooden an actor as a totem pole. I won't even get into wild misfires like The Shadow or low budget television tripe like The Curse of King Tut's Tomb. It's a tall order to get excited about a director that foists that sort of work on an unsuspecting public.
It was quite a surprise, then, to find that "The Real McCoy" stands among some of Mulcahy's best film work. The plotting follows a rather formulaic heist tale, which also requires serious suspension of disbelief on the part of the audience as we're supposed to believe Kim Basinger is some sort of master thief. Val Kilmer portrays an amiable yet inept robber while the great Terence Stamp is sadly wasted as the local crime boss. He's essentially playing the same role Ben Gazzara did in Road House, except Englishman Stamp was forced to adopt a horrific Southern American accent for his role.
Despite a predictable plot and somewhat dubious casting, "The Real McCoy" is an entirely enjoyable heist film in the same vein as The Score. Granted, neither are particularly memorable, yet they make for ample entertainment on a rainy afternoon. Highlights include Kilmer's singularly hilarious botched convenience store robbery and the intricate, if entirely implausible, bank heist at the climax of the film.
In summation, if you're able to believe Basinger as a world-class thief who handles with equal aplomb both air compressed second-story apparati and complex computer wizardry, you may enjoy this film. If you can accept that Terence Stamp is attempting to effect some kind of Southern American accent and has absolutely no room within the script to even pretend to act, you may enjoy this film. If you can stomach a vastly dated, ear-grating score that was composed almost entirely on a mid-eighties era synthesizer, you will almost certainly enjoy this film."
Nice trademark Mulcahy visuals but substance is lacking...
Thomas Elliott | Melbourne, Australia | 10/19/2008
(2 out of 5 stars)
"This 1993 film by legendary Australian film director Russell Mulcahy is unfortunately like much of his later work: A missed opportunity.
As usual with Mulcahy's work it is the visuals here that really keep you watching along with imaginative staging and great editing.
The script isn't all that bad either the basic plot is as follows:
A woman is released from prison, an expert bank robber who wants to settle down and go straight, but her parole officer and her former employer try to get her to pull one more heist.
The main problem I think the film has is the unimaginative performace given by leading actress Kim Basinger. She is not as sexy in this film as she can be, she is not as interesting as she can be and in fact she looks bored.
Val Kilmer offers a little bit of comedic relief but eventually grows tiresome as the film enters it's final act.
"I was at work today, and when I mentioned to a friend that I had watched a boring movie called The Real McCoy the night before, starring Kim Basinger and Val Kilmer, he told me he had watched Crank. Apparently I should have watched Crank, based on what he said. As far as The Real McCoy goes, I explained that it was a pity that Val Kilmer's character started out as kind of interesting, in a comical way, but then seemed to have no personality about halfway through the film. My friend said "Isn't that always the case with Val Kilmer? Heh heh.". Joking, maybe, but I didn't feel that was fair. I said: "What about The Doors?"; Friend: "Oh yaahhhhh! That was a great movie!". I said: "What about The Salton Sea?"; Friend" "Oh yaaahhhhhhh! That was a great movie!.".
So, The Real McCoy is not just a Val Kilmer problem. Halfway through the film, everything shuts down. It's like the film stops all forward momentum, but just keeps going forward anyway. Kilmer simply becomes completely irrelevant to the proceedings, like he's just following Basinger around while she connects a few dots to get to the end credits.
This is a heist picture--a complex bank heist, to be precise. The complex bank heist is clever, but it requires very little action, just some nifty gadgets, and some repetitous rannygazoo to fake out the cops while the real quasi-action goes down. The thieves even bring along snacks and a thermos of coffee to keep them tided over during the heist--they've got that kind of time.
Before the heist is the human-interest stuff. Freshly-paroled heistmaster Karen McCoy (Kim Basinger) just wants to connect with her young son, who is being kept out of her reach by her estranged hubbie, who told the kid she was dead. She's saddled with a sweaty, lecherous parole officer who wants favours for allowing her her continued freedom. Then there's J. T. Barker (Val Kilmer) who recognizes her and starts trailing her around like a lovesick guppy, until she finally decides she needs him to help her get her son back--NOT from her ex-husband anymore, but from a crimeboss she blames for her jail-time, who wants her to pull off one last score, a hit on the Atlanta Union Bank (which seems to have a sign more suitable to a strip-joint). Enter the heist.
Basinger looks great; besides the lecherous parole officer she's the only thing to really generate any kind of emotional reaction in me (opposite reactions). The action scenes are few and far between. The plot has no delightful zigzags or jolts that get you interested in the scene you're watching, or the one to come. I find it hard to believe that this is the same director of Ricochet, with Denzel Washington, which is no classic, but plays mind-games, and doles out some gritty action. The Real McCoy makes several promises in the first half hour and then decides it doesn't have to keep any of them: no suspense, no romance, no real pyrotechnics during the heist, and to top it all off, a big tiger that obviously doesn't know what to do with an appetizing-looking bad guy. Some of the music by Brad Fiedel--of Terminator fame--is cool, and Kilmer has some fun at the start, but the movie is entirely too relaxed to function as a thriller. And I can't call it a successful comedy, romance, or family drama, by any stretch, so we're rut-snagged. My friend's twenty-second description of Crank was more involving than this pillow disguised as a movie."