
Al Pacino stars as aging 1970s rocker Danny Collins, who can't give up his hard-living ways. But when his manager (Christopher Plummer) uncovers a 40 year-old undelivered letter written to him by John Lennon, he decides to change course and embarks on a heartfelt journey to rediscover his family, find true love and begin a second act. - (C) Bleecker Street Media
About Danny Collins
Artist : Melissa Benoist, Al Pacino, Jennifer GarnerAs : Jamie, Danny Collins, Samantha Leigh Donnelly
Title : Danny Collins Full Movie Film
Release date : 2015-03-20
Movie Code : 1772288
Duration : 01:31
Category : Comedy
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One of the things that partly excuses the movie's mush is that it's a kind of musical.

A familiar late-in-life redemption narrative, made surprisingly palatable by Pacino's winning comic bravado, a superb supporting cast, and currents of real feeling that cut through the expected bromides about the emptiness of fortune and fame.

The directorial debut of Dan Fogelman, writer of Crazy, Stupid, Love and Last Vegas, the movie combines the compulsive sub-plotting of the former with the retirement-age asides of the latter.

How bad could a movie be that features talent as serious as Al Pacino, Annette Bening, Christopher Plummer, Bobby Cannavale and Jennifer Garner? This bad, alas.

A cast of old pros (Christopher Plummer, Annette Bening, Bobby Cannavale, Jennifer Garner) and a touching final scene elevate the material just enough to redeem it.

You can guess where things are leading, but only to a point. Fogelman tosses in some mild surprises along the way, some more effective than others.

Danny Collins is the cinematic equivalent of a well-sung easy rock tune, enjoyably light and bouncy, with some darker notes hidden within the chords.

It's never dull to watch pros like Pacino, Bening, Plummer, Garner and Cannavale interact - this is dream casting - and the film makes the most of that, along with a pleasingly comprehensive Lennon soundtrack.

Al Pacino as a jaded, aging rocker re-juiced by a road trip to settle accounts with himself and his long-lost family? By all means roll your eyes - the star has one brow goofily raised himself - but don't give up on Danny Collins.

Comedy, pathos, and some schmaltzy couplets about the changing seasons follow forthwith.

Legendary as Al Pacino's skills are, he wouldn't be the first actor I'd cast to play a 70ish pop star who still fills mid-sized arenas some 40 years after he last charted a hit single. Yet Al Pacino sells the heck out of his performance as Danny Collins.

This uneven but ultimately sweet comedy-drama takes full advantage of Pacino's larger-than-life persona (think "Glengarry Glen Ross," "Donnie Brasco," "The Insider") and his ability to add in lovely grace notes.

Before the action comes a cheerfully coy announcement: "The following is based on a kind of true story a little bit." In fact, the story is not only true, but proves to be a kind of swell idea for a fiction film.

Though occasionally contrived, in its more low-key, honest moments, Danny Collins rings out with emotional resonance.

[A] shameless piece of boomer bait, which peddles the highly questionable notion that it's never too late to get back to where you once belonged.

The movie becomes, perhaps inadvertently, a celebration of selling out.

There's a delayed-secret hitch in the narrative that hijacks the movie, for better or worse. You don't have to believe any of it to enjoy a lot of it, however.

The lesson of this likable little movie is that it's never too late to reclaim your integrity.

Pacino's exuberance rescues Dan Fogelman's directing debut from the schematic snares in Fogelman's script.

Danny Collins has no intention of breaking new ground. But Pacino and a top cast make it mean something.

What Fogelman doesn't quite achieve as screenwriter at the start of the film he makes up for in his directorial debut. He supports wonderfully the affable allure of his attuned cast.

There's a kind of modest American comedy that's so keenly done that you don't bother resisting. All the details feel exactly right for that particular story and those characters. It just works. Right away, you can tell that Danny Collins is working.

"Danny Collins," like its central character, has a good heart, and sometimes that's enough.

You think you know where this is going, but it's a pleasure to see Dan Fogelman slow down the flow for his two erstwhile Ricky Romas, kicking around life's harsh turns with tenderness.

A redemption movie in the skeptical key of Jerry Maguire with dozens of small, perfect moments

Like its hero, the movie is flawed, but hard to resist.

Danny Collins is nothing to write home about, but it kept me entertained without too much guilt, and I didn't wince.

I can imagine a lot of good movies developing from this premise, but as fictionalized by screenwriter Dan Fogelman, it becomes yet another soggy tale of father-son healing.

There's a nice fluidity and freedom to writer-director Dan Fogelman's storytelling, so things never become predictable.

Writer-director Dan Fogelman seems as torn as Danny is between his artistic impulses and his hard-wired attraction to bland, audience-friendly material.

A redemption story doesn't always need to show the blood. Danny Collins gets the point across without pretention. Its closing scene, alone, is worth the price of admission.

The top-notch cast makes this Bleecker Street release almost tolerable, but the spectacle of a dissolute hedonist suddenly acquiring a heart and a conscience late in life is shamelessly, and shamefully, contrived in its emotional trajectory.

"Danny Collins'' is certainly watchable, but don't go expecting much in the way of surprises.

So shameless is this movie's urge to batter you into laughter and tears that you give in, exhausted and maybe even a little grateful.
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