Perry Kate Very very predictable, including the post credit scene !!!

Wordiezett So much average

Beanbioca As Good As It Gets

SanEat A film with more than the usual spoiler issues. Talking about it in any detail feels akin to handing you a gift-wrapped present and saying, "I hope you like it -- It's a thriller about a diabolical secret experiment."

HotToastyRag I watched this movie with my brother when we were in high school, and we couldn't stop laughing. It's pretty much a non-stop joke fest about sex, body parts, prostitution, and more sex. Back in the sixties, it was pretty wild to be able to make those jokes, since the previous three decades were ruled by the Hays Code censorship. Nowadays, these jokes might only be funny to teenagers, or teenagers at heart.Frank Sinatra plays, well, Frank Sinatra. He has a revolving door of good looking broads, shoots bad guys, parties, and hangs out at strip clubs. His character in the film is slightly different, as he's a private detective and lives on a houseboat in Miami Beach, but I guess if Tony Rome had taken place in Las Vegas, it would have felt too much like a documentary. The three main broads are Jill St. John, Gena Rowlands, and Sue Lyon, but there's a buffet of babes in bikinis and lingerie if you're watching the movie for the eye candy.The detective-theft part of the plot isn't particularly extraordinary, but is anyone really watching it for that? No, we want to watch Frank Sinatra juggle scantily-clad babes and crack sex jokes. And we'll be very happy.

kai ringler I really didn't care for this one that much,, being that it was Frank Sinatra Ole, blue eyes I expected a heck of a lot more and I was sadly disappointed, there were a few good things going on early 60's Miami Beach seeing Frank as a Mike Hammer type of detective, and of course the ever seductive and sexy Jill St. John, other than that I hate to say that I was utterly bored with it.. Ole blue eyes is hired by the father of a girl who loses her diamond pin, and it's up to frank to find out,, when he does it turns out to be a fake,, then you throw in the Mob, and other guys going after Ole Blue Eyes and it get's a little interesting, but truthfully I would rather watch Mike Hammer to be perfectly honest.

chaosHD The detective genre experienced a brief comeback after the success of the movie Harper in 1966, a movie that Frank Sinatra passed on. But after seeing his buddy Dean Martin having success with his Matt Helm series, Sinatra decided to do Tony Rome in hopes that it would be the first in a series as well. Tony Rome is very similar to Harper in plot and tone, leading me to assume that Sinatra must of regretted not doing Harper after all.Harper was a flawed but entertaining film, Tony Rome is also flawed but not as entertaining, mainly due to the fairly uninteresting plot, not the actors. The actors are all game. The actresses aren't given a whole lot to do, other than sit and be window dressing. Jill St. John has some amusing scenes, but Gena Rowlands and Sue Lyon are wasted. Sinatra and the director Gordon Douglas had already worked together before, on the Rat Pack film Robin and the 7 Hoods in 1964. And after doing Tony Rome they would quickly follow that up with The Detective and Lady in Cement in 1968, which are also flawed but watchable.

zardoz-13 Gordon Douglas' "Tony Rome" ranks as an average whodunit that benefits immensely from Joseph Biroc's fantastic widescreen lensing in actual, authentic Miami locations. First off, "Tony Rome" is no "Maltese Falcon" or "Big Sleep" and Frank Sinatra–for all of his cool moves–is no Humphrey Bogart. Nevertheless, this detectives' story is complicated enough, humorous enough, and relies on enough gumshoe conventions to make it entertaining. What surprised me about everything that I've read here and at other Internet websites is that nobody observed that "Tony Rome" was the only movie that ole Blue Eyes made that had a sequel. Sinatra never played the same named character more than once except here and in "Lady In Cement." Another interesting fact is that old Blue Eyes must have gotten along well with veteran helmer Gordon Douglas because Douglas directed him in "Tony Rome" and then "The Detective" and then "Lady in Cement." Earlier, Douglas called shots on Sinatra's Rat Pack clan gangster movie "Robin and the 7 Hoods" and even earlier "Young at Heart." As sensitive as Sinatra was about his friends and co-workers and as ready as he was to punish them for their slights, the fact that he worked with Douglas so many times must say something. Perhaps Douglas was simply compliant. Compliant or otherwise, Gordon Douglas was one of those extremely efficient but rarely celebrated Hollywood helmers. Reportedly, Sinatra hated to shoot a scene more than once and some directors–even Oscar winning Lewis Milestone–were content to follow his wishes. Oscar winning scenarist Richard L. Breen, who penned the Barbara Stanwyck version of "Titanic" as well as "PT-109," knew a thing or two about writing hard-boiled detective dialogue. He wrote enough "Dragnet" episodes to ensure this quality. Breen's screenplay contains some hilarious moments that do rank up there with "The Big Sleep" and the horse racing dialogue scene between Bogart and Lauren Bacall. In this instance, a client shows up at Rome's roomy office and tries to hire him to investigate their kitty cat because "pussy doesn't smile" any more. I suspect that even in 1967 everybody knew that this was racy joke. Later, there is a scene between a gorgeous stripper and her fat, worrisome roommate. The fat roommate slaps around the curvaceous stripper and then both cry and hold each other. Tony Rome observes them with all the cynicism in the world and switches off the lights for them and leaves their trailer. Surely, this must have raised some eyebrows back in 1967, especially since the Production Code Administration was on its last legs.As for the plot, "Tony Rome" is mild compared to the classics. Miami private investigator Tony Rome does a favor for his ex-partner Ralph Turpin (Robert J. Wilke of "The Magnificent Seven" at his slimy best) who saved his life once. The unsavory Turpin is a house detective at a seedy hotel, and he has a young drunken dame on his hands that he needs to get rid of before the Miami Police give him flak. It turns out that he rolled her for fifty bucks and he winds up paying Rome $200 to take her off his hands. The dame is pretty Diana Pines (Sue Lyon of "Lolita") the daughter of wealthy construction magnate Rudy Kosterman (Simon Oakland of "Bullitt") and Rome takes her home without getting Turpin in trouble. Kosterman pays off Rome to make sure that his family doesn't get in the headlines. The next day Diana shows up at Rome's houseboat. She appears to have lost a diamond stick pin valued at $5-thousand and she wants it back without her father knowing about it. No sooner does she tell Rome about the pin than a couple of thugs show up and give Rome the option of a pistol butt over the head or chloroform. One nice trait of Sinatra's Tony Rome is that the guy is no hero. He chooses chloroform and the thugs trash his boat, only to find zilch. Interestingly, Lloyd Gough, who portrayed the idiotic Sentinel news reporter on the TV series "The Green Hornet," plays a strong-arm guy who roughs up Rome. Rome is a gambler, too, who often loses. Moreover, his back story is that his father was a Miami cop who tangled with the wrong politician and committed suicide. Tony quit the force and earns peanuts as a private eye. Eventually, Rome finds himself up to his neck in trouble with his own cop buddy, Lieutenant Santini (Richard Conte of "The Violent Professionals") because he finds Turpin shot dead in his office. Meanwhile, Rome discovers that the precious pin that Pines wants recovered is made out of glass. He also suspects that Kosterman's lovely wife Rita (the ever lovely Gena Rowlands) has something to hide. The high point of the plot occurs when an imported gunman tries to kill Kosterman at his construction site. Shecky Greene of TV's "Combat" shows up briefly as a hit-man who has been arrested so many times that he knows the law better than his lawyers. The fabulously beautiful Jill St. John of "Diamonds Are Forever" slums through several scenes with Sinatra as a three-time married vodka guzzling babe. For a while, it looks like Tony Rome is going to get the girl, but no such luck. She goes back to hubby number three because he has bought her a new nightgown and a new honeymoon in Nassau. "Tony Rome" has more plot than action and it lacks noisy gunfights, car chases and nudity, but it is a good Sinatra flick.