While “St. Vincent”might prove just a bit too sweet for some moviegoers, Bill Murray (as the titular character) provides enough heart and humor to anchor the film, even as it slides towards a sugary conclusion. The Vincent that we meet at the beginning would never come close to qualifying for sainthood. He splits his time between the neighborhood bar and track, running up tabs and gambling debts as he drains his bank account. Vincent is a classic Murray misanthrope—a belligerent old Brooklyn–native whose only meaningful relationship seems to be with Daka (Naomi Watts), a pregnant Russian hooker with a dwindling customer base.
One morning, following a drunken mishap that leaves him unconscious and bleeding on his kitchen floor, Vincent finds his troubles compounded when a moving van hits his tree and smashes the windshield of his faux wood–paneled 80s convertible. For his new neighbors, recently divorced mother Maggie (Melissa McCarthy) and her pre–teen son Oliver (Jaeden Lieberher), what was already primed to be an uncomfortable introduction soon turns into a hostile negotiation over damages. Vincent demands he somehow be compensated for the tree, but soon relents when he realizes he can squeeze more money out of Maggie by watching her son after school while she works. Inevitably, this largely exploitative relationship between Vincent and Oliver turns into a genuine friendship as the boy discovers (of course) that his quasi–nanny might be concealing a soft heart.
Considering how much of a Bill Murray vehicle “St. Vincent” is, what’s most surprising is how much the film is elevated by the rest of the cast. Coming off a series of over–the–top, barely comedic roles, McCarthy proves herself every bit Murray’s equal with a performance played more for pathos than laughs. It’s easy to question why any woman in her right mind would allow Vincent to look after her son, but in McCarthy’s hands, Maggie’s desperation is palpable and gives the film a real emotional backbone. Her interplay with Murray is great, but “St. Vincent” really shines when exploring the relationship between Vincent and Oliver. In his debut role, Lieberher holds his own, leading to some hilarious banter.
“St. Vincent”might not be a particularly daring debut feature for writer/director Ted Melfi, but it’s still a funny film that earns its sentimental moments more often than not. Vincent’s no saint, but he’s a captivating character in an altogether enjoyable movie.
