It took only a few movies for Hugh Grant to become a caricature of himself. He first gained notice as the hopeless romantic in "Four Weddings and a Funeral." Audiences fell in love with his good looks, deadpan delivery and ability to convey hurt. He was even better in "Notting Hill," and added just the right note of foppishness. But in "Mickey Blue Eyes"-perhaps because he is miscast-all of these once-endearing traits now seem annoying. The floppish hair once endearing in Notting Hill now seems to be a distraction. His repeated use of the word "right," just right in Notting Hill, seems annoying here. Perhaps the problem is that the previous two films were fresh and well written. "Mickey Blue Eyes" is neither. Perhaps it's time for Grant's character to move in a new direction and to once again display the talent he showed in "Remains of the Day."
"Mickey Blue Eyes'" plot about an auctioneer about to become engaged to what turns out to be a Mafia princess is okay. And the idea of using an auction to launder money is fresh. But the second half of the film goes down hill quickly. And the supposed tragic ending is too obviously a ruse.
The only two saving graces in the movie are James Caan and Scott Thompson. It's been fascinating to watch Caan move from pretty boy ("Lady in a Cage" and "El Dorado") to real life and screen tough guy ("The Godfather") and now to comedian. Watch Caan's eyes-they seem to be in conflict with the rest of his body, letting us know that he knows a lot more than he's letting on.
Thompson, of the "Kids in the Hall" troupe, shines here as an FBI agent. He steals every scene he's in.
