Film

Be Cool

Name: Be Cool
Genre: Comedy, Crime
Released: 2005
Cast: John Travolta, Uma Thurman, Vince Vaughn, Cedric the Entertainer, Dwayne Johnson

Comedy

A crime-comedy romp where John Travolta's wiseguy producer abandons Hollywood for the music industry, armed with nothing but charm and a willingness to improvise. It's zippy, stuffed with a-list cameos, and relies almost entirely on whether you find Travolta's particular brand of cool persuasive. Built for people who enjoy watching famous people play themselves, lightly.

TMDb rating

2.8

If you liked this

Get Shorty1995

The spiritual predecessor: same Travolta, same Leonard Elmore source material, same premise of a criminal entering a glamour industry and refusing to play by its rules. Smarter and tighter, with better chemistry across the board.

But It's 30 years old now, and the '90s Hollywood satire feels affectionate rather than sharp. If you want contemporary bite, look elsewhere.

The Nice Guys2016

Russell Crowe and Ryan Gosling as a cop and a con artist forced into partnership. Comic-crime chemistry, crisp banter, a plot that actually lands. Intelligent and genuinely hilarious about corruption and human incompetence.

But Considerably darker and more violent than *Be Cool*. This is a LA noir with jokes, not a lark.

Entourage2015

A movie basically about famous people having a good time. Cameo-laden, plot-light, focused on charm and hanging out with attractive men in expensive settings. If you enjoyed *Be Cool*'s vibe, this is the distilled version.

But It's been thoroughly forgotten, and deservedly—there's almost no structural reason for scenes to occur in any particular order. Patience required.

Not sure tonight? Get a pick in a minute, starting from Be Cool

The wildcard

Something you would not have found on your own.

Walk Hard: The Dewey Cox Story2007

Both films are built on the charm of a fundamentally delusional man convinced he understands an industry he has no business entering. The difference is *Walk Hard* knows that's funny; *Be Cool* isn't always sure.

John C. Reilly as a delusional, semi-talented musician determined to succeed through sheer force of personality. Same comedy DNA as *Be Cool*—a protagonist utterly convinced of their own cool who is hilariously and catastrophically wrong about it. Absurdist and deliberately crude, but the structure *works*.

But Raunchy in ways *Be Cool* isn't. The humor is broader and more ridiculous, relying heavily on humiliation. It's a different genre of funny.

Mickey Blue Eyes1999

James Caan and Kelly Macdonald. Crime figure arranging a wedding, non-crime woman, comedy of manners with real warmth. Similar sweetness underneath the surface posturing, and better control of tone.

But Lighter on its feet but also lighter in every way—it's basically a rom-com that happens to involve the mob. If you want the crime stuff to matter, this won't satisfy.

In Good Company2004

Topher Grace as a young magazine executive, Dennis Quaid as the older guy pushed aside. A real story about ambition, age, and kindness hiding beneath professional surfaces. Surprisingly earned and moving.

But It's earnest in a way that might read as slight. Not a comedy, though it has warm moments.

Swingers1996

Vince Vaughn as a divorce-era Los Angeles guy trying to remain cool. Terrific ensemble chemistry, smart dialogue, and it actually cares about its characters even as it laughs at them. Hugely influential for a reason.

But The '90s LA vibe and particular masculinity on display won't land if you're hostile to that world.

Bottle Rocket1996

Luke Wilson and Owen Wilson as two low-level criminals with big hearts. Wes Anderson's debut has the same dreamlike plot-looseness as *Be Cool*, but genuine melancholy underneath. Oddly affecting and genuinely funny.

But Very slow. Anderson's aesthetic is precious for some people. This is a crime movie without actual stakes.

Four Rooms1995

Tim Roth as a hotel bellhop, Quentin Tarantino and Paul Thomas Anderson as directors, the entire '90s indie scene in cameos. Pure style and chaos, all in one night. A fascinating artifact.

But Uneven, self-indulgent, and narratively goes nowhere by design. What's charming to some is aggravating to others.

The Pitch2012

Where *Be Cool* treats the industry as playground, this shows what actually happens when nobody's being charming enough.

A three-part HBO documentary following six screenwriters pitching their projects to studios. You watch the actual machinery of Hollywood optimism and failure in real time. Essential context for understanding what *Be Cool* is lampooning.

But It's a documentary about rejection and artisanal suffering. Not light viewing. Some finds the watching of professional disappointment difficult.

Sympathy for the Devil1968

Both films obsess over the music industry and the mythology of cool. One ransacks the myth. The other celebrates it. Together they define the conversation *Be Cool* is accidentally having.

Jean-Luc Godard's documentary of the Rolling Stones recording a song, transformed into something about revolution, race, and the mechanics of creation. Shot like *Be Cool* dreams of looking—restless, style-drunk, utterly confident in its own coolness. Simultaneously about and against its subjects.

But Barely a plot. Experimental and often cryptic. Some will find it pretentious or impenetrable. Not designed to make you comfortable.