animausimages 1997's "Fathers' Day", directed by Ivan Reitman. Starring Billy Crystal, Robin Williams, Bruce Greenwood, Natassja Kinski, Julia Louis Dreyfuss, and Charlie Hofheimer. In "FD", Billy Crystal plays a twice divorced lawyer (now married to Dreyfuss), approached by an old flame (Kinski) who tells him that her teenage son is missing after a fight with her partner (Greenwood). The catch? Crystal's the father. Crystal then hits the road to find the son he's never met before, prepared only with a photograph. We then meet the Robin Williams character, playing a manic depressive writer who's attempt to commit suicide is interrupted by Kinski's reaching out to him. She also tells Williams that he is the father, and Williams strikes out on the road as well. It doesn't take long for Crystal and Williams to connect along the way, and figure out their predicament. The manic depressive Williams is inspired by the life affirming news (even if it's not true), and Crystal comes along, either by curiosity or contractual necessity. Further complicating matters, Greenwood also hits the road in search of his step son.Filmed in 1997, the film feels at least a decade dated, both in concept and it's fading stars' charisma (and mullet hair). While it may at times resemble a hackneyed version of 1988's superior "Midnight Run", it's closer in spirit to "Plan 9 from Outer Space" and "Weekend at Bernie's". The only thing about the film that does feel relevant for it's respective time, is the awkward corporate synergy between the movie's characters and the band, Sugar Ray. Not once, but twice, do we get to see the two hit wonder in concert action, not counting the backstage scene. To boost this premise, we also get a mime appearance, as well as a bizarre Mel Gibson cameo. For a comedy, "FD" is devoid of laughs, and the home run gags, such as a comatose teenager being cleaned in the shower while both the person on the phone and a nosy bellhop confuse what is going on with pedophilia and swinging, don't just fall short- they keel over in a an explosion of dumpster fire dust.It's shocking that Williams appeared here in the same year that he won an Oscar for his work on "Good Will Hunting". There is an awkward scene where he does his signature rapid fire impressions, but the rest of the movie he wavers between shrill hysteria and insecurity that made my skin crawl. And that's before you contrast his character with the man who would ultimately take his life in 2014. There's also very little chemistry between him and Crystal, with Williams' mental instability poorly meshing with Crystal's bizarrely miscast tough Type A personality phoniness, as they both become son smitten. Greenwood's presence in the film is a shame too, with him appearing in the superior "The Sweet Hereafter" the same year as well. Here, his character is an afterthought, confined to the comedy hell of being tipped in an outhouse, before just abandoning his search for his step child. Perhaps worst of all, Hofheimer's teenager character isn't wayward and developing- he's a sociopathic creep- though in his defence he's much like his mother who has no problem lying to the 2 main characters that she uses as volunteer bounty hunters by lying about their paternity. Crystal sees through the charade and explains how great it is- but it's not. Sounds like the movie itself. This Father's Day, it would be best to watch… anything else.

studioAT This to my knowledge is the only film that Robin Williams and Billy Crystal made together, and in my opinion it is a good showcase for two very funny actors at the top of their game.The plot is simple enough and the great thing about that is that lends itself more towards the dynamic between the characters being shown in lots of different scrapes. There's strong verbal and physical comedy and the two actors bounce off each other so well.My only fault with the film, as others have said, is that we have a rushed ending that both doesn't paint the mother in a very good light or give us the conclusion we hoped for. In a very funny comedy it is sad to see the ending just fade away.Overall, while not being the best film either of these two actors have been in, it is still better than most of the 'comedies' we see today.

elshikh4 Let us see. The scene where (Williams) was trying so many "father" characters in front of a mirror, preparing for meeting his teen kid for the first time. Another one where he was personating a German producer. And a glimpse of (Crystal) as serious actor. Other than that, forget this movie, or simply, you'll do effortlessly ! Knowing that it's based on French movie leads to the fact that it isn't original. However watching it is what leads to the fact that it isn't funny! The script relies on just the presence of the 2 stars for the half of it, and makes easy toilet humor for the other. So it was between empty and disgusting. Seeing a moving human toilet (Williams at one point), or someone trapped in one (Greenwood in another) is what this movie considers as funny, and doesn't stop doing without any fear of repetition. As you see, this comedy has no talent and no conscience either !Gathering 2 comedy rockets like (Robin Williams) and (Billy Crystal) in one movie is a great idea, this movie isn't. That neurotic actor was interesting character, but (Williams) had no actual situations or workable lines to do. That firm lawyer was supposed to be the very rational fretful opposite, which was disappointing knowing that it was played by (Crystal). The thing is he had no funny stuff, and his seriousness wasn't utilized in a funny way (unless you think that using his head to hit people is funny !). (Nastassja Kinski) and (Bruce Greenwood), naturally cameos, were imprisoned in that empty and disgusting script. (Mel Gibson), most probably was coming across the studio while shooting, did an awful cameo. Again, the writing sucked there. The only one who was handled right things and did them rightly was the son. He undoubtedly was that lost, confused and desperate teen. Director (Ivan Reitman) does wonders with only creative scripts (remember Ghostbusters), so here's one movie he won't be proud of. As for the American movies based on French ones, long list during the 1980s and 1990s, this axiomatically remains in the bottom. And as a buddy comedy, other buddy comedies produced in the same year, from (Men in Black) to (Out to Sea), were more amusing and – sure – less gross! So the good side of (Fathers' Day) doesn't exceed "seeing" (Williams) and (Crystal) together in one movie. It has nothing to it script, and nothing in it feel. For the million time : Hollywood, in the last 2 decades, as if has everything except "the writing". Big tragedy that is, which you can live the most through the comedies.

namashi_1 Ivan Reitman's 'Fathers' Day' is a passable flick from the long-gone year 1997. It has a interesting premise & the well-known filmmaker does fairly well. It's not half as bad as it fared at the box office.'Fathers' Day' is no milestone, nor it's a very-good film, but it surely as mentioned, is a one-time watch. The film has a decent start, a bland middle, and a fair climax. Reitmen's work, according to me, is just right. Coming straight to the acting department, Williams & Crystal both are the life of the show. Both are excel to the T. Julia Louis-Dreyfus has always been hot, and even her performance is quite okay. The Razzie Nomination was just uncalled for. Others are adequate. There's not much left to write, and a film like 'Fathers' Day' doesn't demand that either. Watch it, cause it's really not as bad as one would've told you.