Am I Missing Something?

The plot isn't so bad, but the pace of storytelling is too slow which makes people bored. Certain moments are so obvious and unnecessary for the main plot. I would've fast-forwarded those moments if it was an online streaming. The ending looks like implying a sequel, not sure if this movie will get one

A great movie, one of the best of this year. There was a bit of confusion at one point in the plot, but nothing serious.

One of the most extraordinary films you will see this year. Take that as you want.

When renting out DVD's from my local library during the Christmas period, (due to them letting you keep them for 3 weeks,instead of the normal 1 week) I have always intensionally kept away from renting Mad Dog & Glory,due to the movie sounding extremely dry.Taking a look recently at IMDb's list of movies that came out in 1993,due to deciding that I would take part in a poll being held on IMDb's Classic Film board for the best films of 1993,I was surprised to discover,that along with Groundhog Day being brought out in 1993,that Mad Dog and Glory had also been released in the same year.Pushing my doubts over the title being "dry",I decided to finally have a look at the movie,to discover how mad Mad Dog really is.The plot:Investigating a recent gang-land shooting with his close friend,and fellow Police Officer Mike,Officer Wayne "Mad Dog" Dobie decides to take a short break from the crime scene, (so that he can make sense of how he suspects the shooting took place) and go to a near by local shop to pick up a snack.Entering the shop,Dobie discovers an armed robber,who after shooting the store's owner,is now holding a customer hostage.Nagoiating with the robber,Wayne allows for the thief to run free,as he drags the still alive costumer to safety.Expecting to get thanked for saving his life,Mad dog is instead left in a daze,when the customer kindly tells him that he is a disgrace to the police force.The next day:Reluctantly accepting an offer from his fellow officers to go to a Comedy club,Dobie is surprised to discover that the ungrateful customer who he saved,is actually a stand up comedian called Frank Milo,whose jokes cause Wayne's fellow officer's to row in the aisles.Meeting up with Milo after his performance,Frank tells Mad Dog that he is sorry for how nasty he had talked to him,mere minutes after his life had been saved,and that to make it up to Dobie,he is going to become his best friend,and give him a night on the town that he will never forget.Enjoying every moment of Frank's generosity (which includes being introduced to a dizzy,but very cute girl called Glory")Mad Dog begins to fear that his new "best friend" may be up to something more darker than just delivering his Black Comedy punchlines,when the robber who held Milo hostage at the convenience store is finally located,dead in a dustbin.View on the film:Setting the movie literally alight in the first scene,by using the flicking of a cigarette lighter to take the movie from a black and white Film Noir appearance,to being a darkly-neon lit, Neo-Noir world.Director John McNaughton and cinematography Robby Muller prominently use a dusty yellow filter for a number of scenes,which helps to create a deeply murky atmosphere of Milo's back street ally gangster life blending in,and corrupting Dobie's straight-lace police force.Along with the terrific use of the yellow filter,McNaughton also shows a superb eye for complex camera moves,which McNaughton expertly uses to show the change in Glory's and "Mad Dog's" relationship,which goes from nervous and stilted to flamboyant and complex.Taking on a different role to the one that the studio originally wanted him to take (Milo),Robert De Niro gives a strong,off-beat performance as Wayne "Mad Dog" Dobie,with De Niro always making sure that the situation that Wayne finds himself in is never joked upon,but instead allowing for the Black Comedy element to really enter the movie,by showing that no matter how "Mad" he tries to make himself look,Wayne is not able to get rid of the goofy smile that goes across his face,as he finds himself failing upwards in Dobie's attempt to not back down from the powerful Milo.Contrasting De Niro's performance perfectly,Bill Murray unveils a wonderful sternness as Frank Milo,which along with giving his very good one-liners extra spikes,also makes Milo a surprisingly ruthless character,with Murray showing Frank to take people either as his "best friends",or as his enemies.Placed right in the middle of Milo and Dobie,the beautiful Uma Thurman (who also appears topless in the film) compliments Murray's seriousness and De Nero's goofiness by showing Glory's nerves to be torn up by the Neo-Noir world that she has been living in with Frank,with Thurman showing that Glory's main dream is to leave the darkness behind,and enter Frank's kooky and goofy world.Being sadly changed by the studio, that led to the release of the movie being delayed for a year,the dark screenplay by Richard Price mixes a dark and vicious Neo-Noir with sharp and brittle Black Comedy one liners,that are disappointingly not allowed to show there full set of teeth due to the replacement ending being uncomfortably cheerful,and also due to Frank Milo weirdly disappearing for half the movie,which leads to this being a Neo-Noir whose bite is not worse than its bark.

The main thing is that they could afford and they secured themselves an enviable cast; some of the roles—which is, most of them—are unaccountably good:not only Mrs. Thurman and Murray, but some of the bit parts also. De Niro's performance is extremely competent—very naturalist and true to facts and studied; but it prevents the comedy from keeping a style. I do not think he even understood it as being a comedy. These Scorsesian touches make the movie to be less than a very good one. (On the other hand, they seem not to have a had a very precise idea as to the nature of the film—a love comedy, a satire? Somewhere on the way, the gentle, light, truly funny comedy is somewhat lost, thrown away, in favor of something else, more sordid and less convincing. But parts of MAD DOG AND GLORY are undeniably good.) I would have liked if the comedy was maintained gentler and lighter—without the Scorsesian touches of unnecessary naturalism and sordid details. The sex scene are stupid—even if maybe deliberately so. I was dramatically uninterested in watching De Niro going stud. There is a Scorsesian interference which spoils the good light fun. MADO DOG AND GLORY could have been a comedy so charming and nice and lighthearted as almost to be shown to kids—despite the sulfurous premise. The sex scene, the violence, the gore spoil it; De Niro on the set, and Scorsese behind the curtain seem to have been the only two who did not agree with this comedy remaining a gentle funny movie. There is the peculiar Scorsesian aptitude to thrown in things very uncalled for. It is his peculiar way, his own brand of spoiling things. (Look at CAPE FEAR—exactly the same rubbish, sex and blood and fights, to spoil a good thing. This kind of sordid naturalism seems to be enjoyed or at least approved by De Niro. His role could have been a wonderful one—think of how Grant or Gable would of played it; as made by De Niro, it's meticulous and tensed and mechanic and particularly unfunny.) De Niro does not have the intuition of the movie he's in; he does not seem to be aware of the difference between MAD DOG … and CAPE FEAR;even worse—because here he's even more naturalistic and meticulous and tern. Cady was an exaggeration; but Wayne is a truthful, workmanlike study.Resuming the good side—there's Mrs. Thurman absolutely delicious presence, one of the sexiest in the '90s cinema; and Murray's experienced, firm irony and sense of fun.

If you don't like movies that are adequately summarized in a 20 second spot, if you do like to see actors work against stereotypical expectations and do it well, if you don't believe people or endings are all good or all bad and you're OK with that, this might be a movie you will want to add to your collection. DeNiro is doing the expected only in that he is practicing his patented shape shifting technique -- I found his characterization both believable and involving. Murray gives his first great serious performance -- who knew he could be menacing? Uma is hard to figure, in the way conflicted people often really are. David Caruso gives the most out-there performance I have seen from him, and in this movie it works. (I didn't know him in his first TV cop series, but this character is nothing like the one he plays in CSI Miami.) You might even find yourself rethinking what really happened, and liking that, too.

having already seen bill Murray in the likes of groundhogs day and caddyshack makes it almost impossible to see him as a gangster in this film. the casting director to a bold choice to switch up deniro and Murray from the parts that might have suited them, but unfortunately it doesn't seem to work quite right. deniro's weakness makes him unlikable, and Murray's mannerisms make him unbelievable. the only character that makes it out OK is David Caruso...... somehow? I wanted to like this film but found myself quite bored by it early on. And the end seemed rushed and hackneyed, thus undermining the entire plot of the movie. i say skip it.5 out of 10