Film
The Last Shot
A scrappy indie director pitches his mob movie to what seems like a perfect financier—only to discover the guy's an undercover FBI agent using the production as cover for a sting. It's a brisk, silly action-comedy that never takes itself seriously, built on the friction between filmmaking chaos and law enforcement procedure. Perfect if you want something fizzy and harmless.
If you liked this
Bowfinger1999
Eddie Murphy and Frank Oz deliver a razor-sharp satire about the lengths a desperate filmmaker will go to make his movie, complete with absurdist action sequences and genuine heart beneath the ridicule.
But The humour is broad and dated in places, and the satire works best if you care about Hollywood dysfunction.

Tropic Thunder2008
A war film gone catastrophically wrong, with Robert Downey Jr. in full method-acting absurdity, Ben Stiller panicking, and Jack Black actually doing character work. Wildly quotable and genuinely inventive.
But The satire can feel scattered, and some of the jokes land harder on repeat viewings than on first watch.

Burn After Reading2008
The Coen Brothers send a gang of incompetent people—gym employees, intelligence operatives, divorcing couples—into a collision course of mutual misunderstanding. Blackly funny and kinetic throughout.
But There's no hero, no satisfying resolution, and the plot hinges on stupidity rather than cleverness. Not everyone finds that as delightful as we do.

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The wildcard
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Inherent Vice2014
Both films watch two worlds collide—law enforcement and cinema, crime and distracted protagonists—and find comedy in the friction between how things are supposed to work and how they actually function.
Paul Thomas Anderson adapts Thomas Pynchon's stoner detective novel as a shaggy, groovy 1970s noir—the same collision of incompetence and criminal underworld, but shot like a fever dream with Joaquin Phoenix in full paranoid mode.
But At 148 minutes, it moves at its own strange pace and asks more questions than it answers. The plot dissolves rather than resolves, and that takes patience.

More like this (7)
Ocean's Eleven2001
Sleek, fun, and packed with charisma—a heist film that knows exactly how entertaining it is and lets you enjoy the ride without pretending it's more than a game.
But The plot is secondary to the charm, and if you want genuine stakes or suspense, you'll be disappointed.

Kiss Kiss Bang Bang2005
Shane Black writes and directs Robert Downey Jr. as an actor turned accidental detective in Los Angeles. Witty, self-aware, and genuinely clever about the machinery of storytelling itself.
But The narration is relentless and the plot gets tangled; it rewards attention more than casual watching.

Four Rooms1995
Quentin Tarantino and Robert Rodriguez direct four snapshots of weird guests in a hotel suite on New Year's Eve. Anarchic, ridiculous, and committed to its own absurdity.
But It's a mess by design—no real plot, wildly uneven segments, and an anarchic vibe that feels more like a stunt than a film.

Overnight2003
Tony Kaye's documentary about a screenwriter's meteoric rise and spectacular crash is funnier and sadder than any scripted comedy about Hollywood ambition could be.
But It's a documentary, not a narrative film, and watching someone's life implode gets uncomfortable even when it's funny.

The Nice Guys2016
Ryan Gosling and Russell Crowe as mismatched private investigators in 1970s LA, bickering their way through a plot neither of them understands. Warm, funny, and genuinely interested in its characters.
But The mystery takes a back seat to chemistry and comedy, which frustrates anyone who wants a proper noir plot.

Get Hard2015
Will Ferrell plays a rich guy sentenced to prison; Kevin Hart agrees to train him in how to survive. Simple premise, genuine laughs, and real affection between the leads.
But The premise is thin, the plot is predictable, and it relies entirely on whether you like the two leads improvising together.

The Ballad of Little Jo1993
Both are films about people performing a version of themselves—one for a con, one for survival—and finding that the performance becomes the self. Neither film is interested in revealing the 'truth' underneath; the masquerade is the whole story.
Maggie Greenwald's western is a quiet, unglamorous character study about a woman who poses as a man to survive in 1880s Wyoming. It's a western that earns its sentiment through specificity, not spectacle.
But It's slow, deliberately un-cinematic, and deeply uninterested in the traditional pleasures of the genre. Expect mud, quiet, and moral complexity.

People
Cast
Matthew BroderickSteven Schats
Alec BaldwinJoe Devine
Toni ColletteEmily French
Tony ShalhoubTommy Sanz
Calista FlockhartValerie Weston
Tim Blake NelsonMarshal Paris
Buck HenryLonnie Bosco
Ray LiottaJack Devine
Ian GomezAgent Nance
Troy WinbushAgent Ray Dawson
Tom McCarthyAgent Pike
W. Earl BrownWillie Gratzo
Directing
- Jeff NathansonDirector
- Noga IsacksonFirst Assistant Director
- Jane GoldsmithScript Supervisor
- Rosemary C. CremonaSecond Assistant Director
Writing
- Jeff NathansonWriter
Production
- Dan LewkAssociate Producer
- Gary LevyAssociate Producer
- Anne MulhallCasting
- Deborah AquilaCasting
- Tricia WoodCasting
- Chrysanthy LyrasCasting Assistant
- Jennifer L. SmithCasting Associate
- Ellen ErwinCo-Producer
- Stan WlodkowskiExecutive Producer
- Todd LiebermanExecutive Producer
- Jeremy AlterLocation Manager
- David HobermanProducer
- Larry BreznerProducer
- Christa VausbinderProduction Coordinator
- Gina RotondoProduction Coordinator
- Jenny DeArmitt-StranProduction Secretary
- Nancy Jane KingProduction Supervisor
- Cristen Carr StrubbeUnit Production Manager