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Mad Dog and Glory

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The credits are so full of heavyweights — De Niro, Murray, producer Martin Scorsese, director John McNaughton, screenwriter Richard Price — that it’s surprising how blithely inconsequential Mad Dog and Glory is. Here the fun is seeing De Niro cast against type as a nerdy Chicago police photographer and Murray cast against type as the gangster (and would-be stand-up comic) who gives him a week with a smoldery barmaid (Uma Thurman) as a reward for saving his life. The conceit is shameless sexism, though it’s defused by the sweetness of the playing. The real star may be Price, whose dialogue (”I was gonna clean your apartment, but I couldn’t find any dirt”) and situations (lovestruck De Niro sings and dances to Louis Prima’s ”Just a Gigolo” while photographing a murder scene) are choice. Or, as Damon Runyon might say, ”cherce.” B

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