Robot & Frank

Shot in just 20 days on a meagre budget by first-time director Jake Schreier, Robot & Frank has a simple premise that seems to defy categorisation. Is it a comedy drama? Science fiction? A heist movie? A quirky indie production, perhaps? There is certainly plenty to like – indeed, there is very little to find wrong with it; and, odd as it may seem, that is the film’s problem.

Set in the near future, Frank (played by Frank Langella) is a retired cat burglar who detests the modern way of life. Long-divorced and living alone, he has done time in prison for his thieving and in his old age is now experiencing mental deterioration and dementia. His two grown up children, Hunter (James Marsden) and Madison (Liv Tyler), are becoming increasingly concerned that he can no longer live independently. Rather than opting to put him in a nursing home, Hunter buys him an artificially intelligent humanoid robot programmed to improve Frank’s physical and mental health. Initially detesting the robot, Frank soon sees its potential and the two try their luck as a heist team.

It would be easy to assume that Robot & Frank would place its emphasis on providing cheap laughs as these two polar opposite characters attempt various heists: Frank is disgruntled and grouchy, and would fit perfectly on the BBC television series Grumpy Old Men; whilst Robot (voiced by Peter Sarsgaard) has been programmed to be an emotionless, though seemingly inquisitive and naive, butler. However, the film also looks to explore the effects of aging, companionship, and the consequences Frank’s life as a burglar had on his children and his relationship with them.

As commendable and ambitious as this is, trying to incorporate so many interesting themes into such a small film unfortunately results in Robot & Frank not being particularly strong in any of them. Rather than merely scratching the surface of the issues and topics it addresses, the film would have been much more successful had it focused primarily on just one and then incorporated the others to a lesser extent. It certainly does not tackle any of these badly, rather it just does not cover them thoroughly enough to make any real impression. The film is guilty of drifting like a gentle breeze that goes from one theme to another but without having the strength to blow anything over.

The cast is decent enough throughout, with Langella leading admirably. Sadly, his character suffers a similar fate to the film as a whole; a lot of different things going on but no solid grounding or main focus. As a consequence, he is unable to establish much character development. There are important scenes, especially with his children, where we should be getting drawn into the strain that his life as a burglar has caused between them. Yet, due to the film not allowing Langella to assert any substantial character traits, it is very difficult to buy into Frank as a damaged soul.

It is a shame that Robot & Frank wasn’t able to do succeed in its aims more often because when it does, it is superb. Whether it be the increasing camaraderie between Robot and Frank, or the latter’s friendship with Susan Sarandon’s librarian, Jennifer (especially the revelation near the end of the film), to name just two aspects, it is easy to see just how good the film could have been had it had more focus.

Fortunately, Robot & Frank is filled with a sweet intrigue and a charm that will please throughout. Christopher D. Ford’s script, coupled with Schreier’s direction, contains enough allure and off-the-wall elements to make it pleasantly watchable.

As a result, what we get is a nice, likeable and at times heart-warming film coupled with touching performances. What’s not to like then? Not much is the answer. But if only Robot & Frank did not get lost in what it was trying to be, it could have been so much more.

Ed Dixon



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