User reviews

Jeff and Beau Bridges - brothers in real life - are here united to play brothers on the screen. It's not the first time real-life brothers have played fictitious brothers in a movie (in fact, in The Long Riders several famous siblings paired up to similar effect). However, The Fabulous Baker Boys really benefits from the pairing. The sibling rivalry that runs through this film feels very credible and very convincing, possibly because Jeff and Beau aren't really acting but are simply using their real-life love/hate brotherly attitudes to fuel their performances in front of the cameras.

It's a fairly thin story, but well told. Jack Baker (Jeff B.) and Frank Baker (Beau B.) have spent years working together as stage pianists in various bars, hotels and night-clubs around Seattle. Their long-running act begins to run out of steam and they find themselves playing to empty rooms.... even their more established employers begin to express doubts about their ability to pull in the big crowds. They decide to hire a female vocalist to spice up the appeal of their show and, after over thirty awful applicants, they finally unearth a winner in the shape of Suzy Diamond (Michelle Pfeiffer). Initially, Suzy provides them with a turn in their fortunes, but the future of the trio becomes cloudy when she and Jack develop sexual yearnings for each other. The problems don't stop there, with Frank and Jack slowly becoming more and more distant with each other as their views on how best to market their musical talents are revealed to be very different.

The Fabulous Baker Boys is extremely well-acted throughout, with Pfeiffer in particular giving an outstanding performance (she even sang most of her own songs). The main themes of sibling rivalry and unfulfilled talent are generally engrossing, and help to paper over the thinness of the story. Jeff acts rather moodily for much of the time and is very believable as a man working in the lower ranks of his trade when he could've reached the top. Beau is also in fine form as a performer who does what he does simply because it puts money in the family kitty. It's a hard film to describe, because it's not really about very much, but if you can adjust to the relaxed pace and just enjoy the leisurely development of the three main characters then you will come away from the film feeling thoroughly satisfied.

What was really surprising about "The Fabulous Baker Boys" (a pleasant one) is that Michelle Pfeiffer can actually sing. Everyone knows this movie for her slinky performance on Jeff Bridges' piano, but I'd always just assumed she was dubbed over. She's got a nice voice. And going beyond just that scene, Pfeiffer has never been such a head-turner as she is here. My god, she is sexy in this movie.

It's not an easy movie to sit through, seeing as it details the ark side of show biz. Tensions show themselves from minute one, and just bubble throughout until they come to a head. Twice. There are two altercations in the story that are just painful (between Jeff and Michelle, and then Jeff and Beau). Speaking of the brothers Bridges, if that counts as stunt casting, then it's necessary. I don't think you could tell this story with unrelated actors. The real-life siblings bring a realism to this that heightens the emotion.

Rough movie, but a beautiful family story. Bittersweet to the end.

8/10

Steve Kloves 'The Fabulous Baker Boys' is indeed a Fabulous film, with a terrific screenplay as it's trump card. A story of two brothers struggling to make a living as lounge jazz pianists in Seattle. In desperation, they take on a female singer, who revitalizes their careers, causing the brothers to re-examine their relationship with each other and with their music.

'The Fabulous Baker Boys' has everything going for it, the direction by Kloves is simply outstanding. He keeps hooked all the time, in fact it's amongst the best I've seen from the 80's. Michael Ballhaus's cinematography is remarkable, so is William Steinkamp's editing.

Coming the to acting department, Jeff Bridges steals the show. He's fantastic, as always. Michelle Pfeiffer is excellent, this truly is amongst her best works. Beau Bridges is great, so sad no one has seen much of this gifted actor.

On the whole, this one's a must watch. Strongly Reccmended!

The Baker brothers, Frank and Jack, played by real-life siblings Beau Bridges and Jeff Bridges, have presumably never performed with the Boston Symphony nor rocked on the stage at Woodstock. In the music profession, they are closer to the equivalent of bottom feeders, plying their trade as two-piano lounge musicians. Moreover, gigs in Seattle, where they are based, are getting harder and harder to extract from nightclub owners. Lack of pizazz is beginning to show. The brothers thus reach a business decision to audition for a female singer to enliven their act, leading to Michelle Pfeiffer, whose character is named Susie Diamond and looks every bit the name.

As even those who have not seen the movie may be aware, the highlight is Pfeiffer's show-stopping performance of "Makin' Whoopee" in a sleek red dress atop Jeff Bridges' piano. It occurs, as the trio ascends to better venues, in the ballroom of a getaway resort hotel on New Year's Eve. Pfeiffer won a Golden Globe and other awards for best actress, but Jessica Tandy won the corresponding Oscar for Driving Miss Daisy.

My vote still goes to Pfeiffer, and to Susie. The intriguing, charisma-challenged character, however, is the punctilious Frank, a devoted family man and manager of the act. Frank's pitches to his audiences, making segues from one song to another, are schmaltzy to the point of embarrassment, and yet he applies a time-honored work ethic to his calling, and construes the approach as professionalism. To his brother Jack, in contrast, it's just a job, the relative status of which may be what is life-grating and produces his usual sullenness. Jack would rather be doing a sneak-away stint at a jazz club than pursuing the everyday career into which he is slotted.

So... Pfeiffer is great. Beau Bridges, in her shadow, is more overlooked than he should be. As is the movie. Jeff Bridges rounds out the cast and has his moments. It's a good rental option for a New Year's Eve.

After playing small club gigs for over 15 years, the "Baker Boys" finally come to grips with some realities.

"Susie" comes into their act and lives. She's a former "escort" and blues singer, whom they hire to rejuvenate their somewhat tired act.

This she does, in more ways than one.

"The Fabulous Baker Boys" is an accurate and frank depiction of musicians' lives-on-the-road. It reveals what happens after the audience goes home and the musicians retire to their nice hotel rooms.

But after years, one nice hotel room is the same as another. Likewise, their music routines can become as stale as leftover tobacco smoke in their vacated clubs.

Jeff and Beau Bridges execute some the finest work of their careers in this film. Likewise, Michelle Pfeiffer equally supports them, as well as does her own singing.

Dave Grusin and John Hammond's soundtrack piano renditions are excellent, as is Peggy Holmes' choreography for Ms. Pfeiffer. Sydney Pollack was wise to financially support this production as executive producer.

Writer director Steven Kloves came up with a winner here, marred only by some general slow pacing and an ambiguous though appropriate ending.

"The Fabulous Baker Boys'" reputation continues to grow and be appreciated by more audiences, through cable and DVD distributions. It signifies a rare glimpse at backstage life-on-the-road of musicians who so enrich our lives, yet are all too often taken for granted.

I always thought Michelle was something to watch out for (even in Grease 2) she has a way of smoothing out a role whether she's playing it sweet or sassy.

When she walked into the audition late and unapologetic, you could tell there was going to be trouble.

Her opening of "10 Cents A Dance" builds slowly and when she finally belts "Makin Whopee" on that piano while Jeff Bridges (accomplished artisan that he is)plays on as though it were simply a job, she is legend!!

There is a slow burn to the romance between these two and even the stoic Beau can't defuse it.

FBB is a brilliant movie that gets better with time, you realise there are quirks that you missed before each time you watch this gem of a movie.

Superb acting from two of Hollywood's most talented, Michelle and Jeff.

10/10

Excellent drama about the sleazy, cheap side of show biz. The Baker brothers were a pair of low rent pianists that need a career boost. When that chance comes along do they appreciate it and go on to a great life? Watch and see. This was one hot film, funny and tense, exotic, and well done all the way.

Jeff Bridges and Beau Bridges are "The Fabulous Baker Boys" in this 1989 film also starring Michelle Pfeiffer. The Baker Boys have been playing dual pianos on the lounge circuit for years, with Frank (Beau) acting as the booking manager and accountant. When the bookings dry up, the brothers decide to hire a singer. She's Susie Diamond, a gorgeous blond with a sultry voice and sexy appearance that gives the Baker Boys the pizazz that they need to pick up better gigs and more of them. Of course, one can't wait for the handsome, quietly intense Jack (Jeff) and Susie to give into their sexual chemistry, despite Frank's warnings that Jack's hit and run technique will not work with a teammate. When Frank is called away on a family emergency, more than sex happens. Ultimately Susie's bluntness and ability to see a situation for what it is makes Jack realize he hates the act, hates the way his brother handles it, and hates himself for not pursuing work as a jazz musician.

Someone wrote that the plot is thin - not really. The sibling dynamics are real, pent up, and the product of years of lip-biting, Jack becoming more and more introverted and Frank more desperate to work so he can support his family. It takes an outsider to bring tempers to a boil.

The film is very well done, with great music throughout, including some very hot singing by Pfeiffer. The highlight of the movie is Pfeiffer rolling around on the piano as she sings to Jack. She's really at the height of her beauty and can compare favorably to any Hollywood goddess of the past. Her performance as a street-wise singer who's had it tough is excellent, right down to the chewing gum and the crystal jewelry. Beau Bridges is perfectly cast. He plays a working musician for whom music is a job - and yet he's proud of the act, insistent on having "Feelings" in every show they do, and likes songs like "Bali Hai." Then we come to Jeff Bridges, certainly one of the sexiest men to ever come down the pike - tall and handsome, he is the essence of true jazz musician here - passionate on the piano, cool, loving the night life and the attendant bad habits of drinking and smoking. He's all tied up in his inability to break free of his brother, and it's expressed in every non-expression, every puff of his cigarette. He's fantastic.

Another reviewer on this site stated that non-musicians probably can't understand Jack's frustration about the music. It's true, I'm a trained musician and related to his crisis immediately. But I think many people are in jobs they don't like, many people have a book they never finished because the kids came along - I think this is a very appealing story.

I remember this film getting a big build-up when it was released, but many people on IMDb feel it's underrated. I didn't realize it was, but if it is, it shouldn't be. What a movie - a strange kind of a love story for sure, between a man and his music, but a love story nevertheless.

Written and directed by Steve Kloves, `The Fabulous Baker Boys' is a tale of music and brotherly love set in Seattle. The Baker boys are Jack and Frank (real life brothers Jeff and Beau Bridges), who eke out a living playing piano together at various venues throughout the Emerald City, a basic lounge act they've been doing for fifteen years. Frank is the responsible one, because he has to be; he has a wife, kids and a home in the suburbs. He manages their business, secures the bookings and is content to stick with a formula that works. For him, it's not about the music, it's about keeping food on the table for those who depend on him. Jack, on the other hand, is unattached and could care less about the business end of the partnership. As long as it affords him a modicum of security as well as dignity, he is more than willing to just go along for the ride.

For Jack, though, underneath it all, it is about the music; it's about jazz. On off nights he will steal away alone to some small club to play, and deep down inside he knows that this is not only what he really wants, but needs. And he knows he could be great, if only he'd let himself go. The trouble is, he's been with Frank his whole life, and as long as the act is working he just can't make the break. Unless something happens, his dreams are destined to remain suppressed and unrealized. It is only when one of their regular clubs balks at rescheduling them that the brothers begin to realize that perhaps their act is getting a bit stale. So they decide to try adding a singer to the act. After a memorable scene in which a number of young hopefuls are auditioned, Suzie Diamond (Michelle Pfeiffer) enters their life. She joins the act on a trial basis, and after an amusing and somewhat tentative beginning, infuses it with new life, though Frank continues to adamantly resist too much of a departure from their original show. (`Does anyone really want to hear ‘Feelings' again?' she asks him at one point). Ultimately, however, Suzie becomes the impetus for change that Jack has needed all along, and the stage is set for the decisive moment, which comes when the dignity of the brothers is compromised due to an incident on Frank's part of uncharacteristic carelessness. When Jack tells Frank, `We've never been clowns before–' you know exactly how deep it has cut. Kloves has fashioned an entertaining study of relationships, change, and the effects of complacent loyalty and self-denial; and the importance of following your own heart. When Jack sits down alone at the piano in that smoke-filled club, we know that this is where he is meant to be. Filmed on location in and around Seattle, with a terrific score by Dave Grusin,a supporting cast that includes Jennifer Tilly (Monica) and Ellie Raab (Nina), and a classic scene in which Suzie Diamond croons `Makin' Whoopee' atop a piano, `The Fabulous Baker Boys' is an absolute gem you do not want to miss. I rate this one 10/10.

Maybe "The Fabulous Baker Boys" was mostly one of those "small" movies, but it was certainly well-done. Jack (Jeff Bridges) and Frank Baker (Beau Bridges) are professional musicians whose lives consist of playing in clubs. Figuring that they need a back-up singer, they hire Susie Diamond (Michelle Pfeiffer). But her presence reveals the flaws in Jack's and Frank's lives, and specifically, their relationships with each other.

I don't know much about professional music to really comment further, but this was certainly an interesting flick. The Bridges brothers played the pianos on their own, and one can clearly see it. Definitely worth seeing.

TFBB is such a terrific movie, you feel like a child in a toy store wanting to tell it all. Everything in this story falls into place, the pace is great, the acting is brilliant and yet it's in the details that one discovers the masterpiece. There's the audition scene, the little story about the sick dog and the girl from next door to show you Jeff Bridges does care, the introductions by Beau as they perform in their special place, The Starfire Lounge and then repeats the same line in another cocktail bar, the bathroom scenes in the hotel they do their Festive season gig (quite different what you might have expected from a bathroom scene between Michelle Pfeiffer and Jeff Bridges !), the dog leaving the elevator in the hotel on his own to join his boss who is playing alone, his kind of music. This movie gets better with repeated viewings, so buy it instead of renting it.It's a mystery to me why Steve Kloves did not make more films and instead waited to become a scriptwriter for the Harry Potter films more than 10 years later.

The Fabulous Baker Boys lets you glimpse the backstage life of the so called "lounge act" that populate every nightclub across the country. After seeing the Baker Boys I now know just how thank-less a job performing in clubs really is, especially when 2 pianos just isn't enough. It's got all the things that make a great move, tension, romance, envy, and some good music.

The Fabulous Baker Boys is a movie with a plot that's been done countless times before. There's two partners (in this case, the Baker Boys) who have had a lounge act for over fifteen years and suddenly have their lives thrown upside down when a gorgeous lounge singer enters the act. Jack (the unsettled playboy brother played by Jeff Bridges) falls for the showstopping Suzie (Michelle Pfeiffer), much to the dismay of responsible family man Frank (Beau Bridges). The whole setup is so corny and predictable that it's hard to believe writer/director Steve Kloves fashioned something so wonderful out of it. The Fabulous Baker Boys overflows with style and class. The cinematography by Michael Ballhaus is lush and atmospheric. Kloves' direction is smart and so his script, which artlessly combines humor, romance, and drama in a surprisingly poignant story about hopes and dreams. Dave Grusin's jazzy score and the gorgeous melodies only enhance the mood. Best of all, though, are the performances. Casting the Bridges brothers as the Baker boys was inspired. It's fascinating to determine how much of their real-life relationship is played out here. Beau brings numerous grace notes to what could have been a stereotypical character and Jeff gives one of his best performances as the miserable Jack. But, the big news in this movie is Pfeiffer, who became a star with this sharp, confident, stunningly sexy turn. The screen literally jolts to life when she appears. And that now-classic scene where she sings "Makin' Whoopee" on a piano is certain to immortalize her as one of the great movie stars of this century (and one of the best of current actresses as well). Pfeiffer's in a class all by herself, and so is this movie.

MICHELLE PFEIFFER stole the spotlight and most of the favorable raves for her role as Susie Diamond, the lounge singer who slithers across the piano toward JEFF BRIDGES as she sings "Makin'Whoopee" and gives movie fans the sexiest nightclub act since Rita Hayworth's strip tease as "Gilda".

But make no mistake about it--the movie only confirms what I've thought a long time about JEFF BRIDGES--he's one of the most natural, subtle and underrated actors in films today. He never hits a false note as the musician who can't commit himself to anything, including women, his nightclub career and his brother, BEAU BRIDGES, who runs the club circuit business.

It's a pleasure watching these three as the story slowly evolves around their destinies as club performers, with Bridges falling out of favor with his brother over his infatuation with singer Pfeiffer who becomes an integral part of their nightclub act.

The story is transparently thin and there are times when the running length of the film seems too expanded to carry the slim story. The basic premise reminds me of an old film starring Tyrone Power, Alice Faye and Don Ameche, called "Alexander's Ragtime Band", in which Power and Ameche fight over their hired singer Faye. Of course, THE FABULOUS BAKER BOYS is much saltier and much grittier than that oldie, but it is just as tune-filled with some superb orchestrations of popular songs and jazz tunes, thanks to Dave Grusin's great score.

Pfeiffer does her own singing and does it well, and the Bridges boys look as though they're really doing all that nimble work at the piano.

Two-brother piano act, growing stale through the years, gets big boost after acquiring sultry female singer, the torchy type who is unafraid to hop atop a piano to deliver a flirtatious number, and who eventually--and inadvertently--comes between the siblings while seeming to be unaware of her own allure. All the good acting in the world can't quite make these characters work. Michelle Pfeiffer's sugar-puss songbird is a writer's creation; wide-eyed and innocent at the emotional ruckus she causes, and yet street-smart enough to beguile us with her wise-ass nonchalance, she seldom makes logical or emotional sense. Jeff Bridges gets to moon over her like a drunken has-been in need of a haircut-and-shave, while Beau Bridges is given the kind of third-wheel role never envied by anybody. And when all is said and done, are we supposed to feel proud of the chanteuse who was compelled to do her own thing after getting her feet wet with this unremarkable duo? She spreads her wings all right, but the character is all a cliché. **1/2 from ****

Writer-director Steve Kloves' directorial debut, a jazz-infused drama-romance, under musician Dave Grunion's precise concoction, now mostly remembered for Ms. Pfeiffer's Oscar-calibre bravura as the escort-turned-torch-song-chanteuse Susie Diamond. Beau and Jeff Bridges, two real-life brothers play Frank and Jack Baker, aka. the Fabulous Baker Boys, two brothers-and- pianists in Seattle, make their living by performing in various lounges and bars.

For the first time in their 15-year professional career, they decide to recruit a singer to revitalise their act since the business is going downhill, there comes Susie Diamond, but, Ms. Pfeiffer is not a professional singer in reality (although she has been preparing for the role diligently), the singing voice is not her forte, in order to introduce her as the one that surpasses all other candidates, Kloves sets the ballast with a joyously motley crew of awful singers, started with Jennifer Tilly's Monica, whose audition with her peculiar baby-like voice can bust a gut here! Thus, when Susie comes to the scene (hours later), even though her tonality is not instantly sensational (there is no A STAR IS BORN hoopla), at least she can find the right tune and more importantly, she is a natural showstopper, her sensual voice enthuses audience, her svelte figure enthrals impulse and attention, with a fitting evening dress, they can form a killing trio, for the populist taste.

Ms. Pfeiffer's iconic rendition of MAKIN' WHOOPEE atop of a grand piano with DP Michael Ballhaus' camera entrancingly rotating around her, can simply bring the house down. A central through-line is the romantic vibe between Susie and Jack, the unvarying trope about sex and commitment, which doesn't establish Susie as a woman waiting for the man to make his move or bemoaning his inaction, she feels the attraction with a man who tries very hard to be detached from the entire world, and doesn't shy away from taking the initiative at the right time, right place. Susie pluckily takes Jack down a peg or two in his self-loathing and self-centred universe, she is empowered to liberate him, but she also doesn't have to do so if he doesn't realise that, and through Pfeiffer's tour-de-force, Susie is a woman ever so confident, sexy and desirable, frankly speaking, from a more personal note, she is too good for Jack and Ms. Pfeiffer's magnetism in unparalleled in her heyday.

Jeff Bridges's Jack, who is the quintessence of a man who arms himself with aloofness because he has too much pride to come to terms with this unfulfilled world, he is more talented, more good- looking, also more cynical and more uncompromising than his elder brother, for him, it is always his battle against the rest of the world, and the winning sign is that he can sleep around without any pretence of commitment and play the cool unattainable object of desire, thanks to Kloves' sober script and Jeff Bridge's unaffected endeavour, viewers can totally understand Jack's dilemma without being too judgemental, he grows extremely fatigued of the routinely middle-brow entertainment, but also too passive to pursue what he really wants (he should be adored for his faculties, instead of being stuck in a pedestrian livelihood for far too long, if in a perfect world), all he needs is a stimulant to get out of his self-inflicted carapace, he and Susie would be a good match, but more urgently, he must earn it rather than take it for granted.

Beau Bridges, who is also brilliant in his family-man amiability and flexible pragmatism, by sheer comparison, he is less charismatic than his co-stars, but he bespeaks a more mainstream attitude towards life, a respected breadwinner for his household, the part where Baker brothers finally duke it out is a heightened moment of spectacle, the accusations they deliver are unsurprisingly stale, but the way how they unbridle their yearly-accrued disgruntlement is plum theatrics.

After all, THE FABULOUS BAKER BOYS is an appealing charmer despite of its rather simple story structure, sends off a life-affirming message without being tempering with contrived wishful fulfilment, a feat cannot always be pulled off without a level-headed decision maker behind, plus, who can resist a fully-blossoming Michelle Pfeiffer? No one can.

It is a beautiful movie, I remember that I liked it a lot when I saw it, I found it very entertaining. What catches my attention is that it is not mentioned that it is a remake of The fabulous Dorseys, a film by Alfred E. Green, made in 1947. I also liked this film, as for the music it is much better, the band of jazz that appears in Green's movie is absolutely wonderful, a real jazz band from the 40s.

There is no way I could possibly give Baker Boys anything less then a 10, even though as far as personal enjoyment goes, I had some problems with it. Yet, without a doubt the fact remains that this movie, on many levels is extraordinary.(not OK or good-extraordinary.) I Personally am very surprised there aren't a lot more comments on here about Baker Boys.

Obviously, Michelle as well as the Bridges brothers were fantastic. But most have said that so I won't get into that to much. I was very impressed(and a bit awed) by this screenplay and how incredible, not just the dialogue was, but the mannerisms, the little "back and Fourths" and quirks of each person-the writing was way above merely being good. Beyond admiration, however, I was touched by the writer's ability to capture the world of entertainment and music so perfectly. This is a movie where, (after Suzy, frank and Jack), the music and world these people live in, becomes the fourth main character of the movie. And anyone who has lived in a similar reality at anytime in their life, will feel like their seeing old friends....

My viewing experience was not perhaps the most fun I've ever had, for two simple reasons. One, because I, like many others, will concede this movie moves extremely slowly and unfortunately slow movingness in a movie is one thing that's always been a problem for me. Second, this movie is draped in nostalgia and made me feel more sad then anything else when it was over. The gloom I felt however, was also coupled with knowing I just watched a really well done movie-so it was gloom mixed with admiration, sort of like listening to Pink Floyd.

It takes time to get into Baker Boys, it's a slow burn not an immediate rush. It is one of the most nostalgic pictures I've ever Seen. People have mentioned 70's, 80's I'd say those periods and even earlier. There's an old style glamor coupled with a bittersweet sleepy nostalgia-and anyone who has experienced the stuff of nighttime, and neon lights, will be back in that place again whether they want to be there or not. That's entertainment.

Piano-playing brothers Frank (middle-aged, pernickity Beau Bridges) and Jack (cool, moody Jeff Bridges) hire sexy singer Suzy (Michelle Pfiffer) to jazz up their act; that's both the premise, but also pretty much the entire plot, of 'The Fabulous Baker Boys'. In what follows, there's a few moments of nicely choreographed (though predictable) comedy, but the film's real weakness is that it seems to expect us to be sympathetic to the character of Jack, whose behaviour is consistently boorish, on the (unproven) basis of his supposed innate genius. Jeff Bridges, an actor of limited range, is well cast in the part, but it's hard to care for him; the film works hard at suggesting the idea that his life is tragic, but even if so, no-one else can be blamed for this but himself. There's no way he deserves Suzy, and boy-meets-girl films just don't work if that's how the audience feels. It's fun to see two real-life brothers play on-screen siblings; and Pfiffer is appealing (though her role is somewhat clichéd); but it sums to nothing more than ordinary entertainment.

Good film, dulcet music, Michelle Pfeiffer is beautiful to look at.

But it is a bit unsatisfying, because all the time, the film needs to tell how everything is. And soon as changes start to dawn, the movie ends.

Of course one knows enough, so it is not an "open end", but I was a bit vacant.

Altogether it was an entertaining, but not "must-have-seen"-film.

I noticed a funny detail: at about 1h 28min, when the two Baker-Brothers are having their fight, you can see - on the left side- the microphone man.

Frankly, years after seeing this, all I remember are two things: 1 - Michelle Pfeiffer laying on a top of a piano singing and looking very alluring; 2 - The Bridges boys, Jeff and Beau, arguing with each other brutally in the last 30 minutes of the film.

All three of these actors have one thing in common: they all play in a lot of profane roles, as they do here. They all have garbage-mouths and love to use the Lord's name in vain. These are scummy actors but the story is good until the nastiness takes over the last half hour.

Earlier, the Baker boys - Jack (Jeff Bridges) and Frank (Beau Bridges) are fun for at least half the movie. I like Pfeiffer's name in here: Susie Diamond, an apt name for someone crooning "Makin' Whoopee."

Overall, a modern-day soap opera with too much profanity and not worth seeing just for one scene.