The Freshman (1990)

What makes The Freshman such a delight is the way it turns a gangster-movie shadow into a sunny, nimble comedy—part New York fish-out-of-water tale, part affectionate spoof of film-school obsession, and all carried on the breeze of a genuinely clever script. Marlon Brando strolls in like a legend winking at his own mythology, and the movie has the good sense to let that self-parody play alongside Matthew Broderick’s open-faced, anxious charm as he’s tugged through a caper of fancy restaurants, odd errands, and low-stakes menace. Andrew Bergman keeps the tone light and jazzy, with jokes that land because the characters take their absurd world just seriously enough. If you want a hard-edged crime film, this isn’t it—but if you’re in the mood for smart, cozy mischief with impeccable casting and a knowing grin, it’s an easy recommendation.

The Freshman wants to be a breezy New York caper that lovingly pokes at mob-movie mythology, mostly by letting Marlon Brando wink at his own legacy while Matthew Broderick plays the anxious everyman dragged along for the ride. The premise is genuinely fun, and Brando’s presence gives the film an oddball charm you can’t fake, with a few inspired comic moments around the “errand boy for criminals” setup. But the direction and pacing don’t always cash the checks the concept writes—several gags land softly, and the movie’s style feels a bit too polite to make the crime-comedy spark. If you want a sharp, laugh-out-loud farce or a genuinely edgy mob spoof, this may feel undercooked; if you’re happy with a mild, quirky caper carried by a great central gimmick, it’s an easy enough watch.