Movie Review: Quick Change (1990)

★★★★★

A clever crime comedy that turns a simple heist into a wild journey through the madness of New York City. Fast-paced, funny, and full of surprises.

Ronda W.

Ohio

Some heist movies are all about the planning. Others focus on the action. But Quick Change flips the genre on its head; the heist is over in the first 15 minutes. The rest of the film is about something far trickier: actually getting out of New York with the loot.

As a reviewer for BoxReview.com, I’ve always felt Quick Change deserves more love. Not only does it star Bill Murray in one of his most sardonic performances, but it’s also the only film he ever co-directed (alongside Howard Franklin). It’s a tightly paced, darkly funny story about how even the best-laid plans can get chewed up by the absurdity of city life.

The Premise: Clowns, Chaos, and Coincidence

Grimm (Bill Murray) robs a Manhattan bank dressed as a clown. But this isn’t your average stick-up; it’s an almost elegant bit of theater, complete with hostages who don’t realize they’re being played. Grimm escapes with the help of his partners, Phyllis (Geena Davis) and Loomis (Randy Quaid), by blending into the crowd before the police know they’re gone.

The plan? Get to JFK Airport, hop a flight, and start a new life. The problem? New York City itself.

Over the next 90 minutes, they’ll run into every urban frustration imaginable: construction detours, language barriers, muggers, subway disasters, and even a mob boss. The city becomes the film’s true antagonist, and it’s relentless.

Bill Murray as Grimm: A Different Kind of Heist Leader

What makes Murray’s performance here stand out is his combination of calm competence and withering sarcasm. Grimm isn’t a manic clown (despite the makeup); he’s a strategist, and his dry commentary on each new setback keeps the film grounded even when the situations get absurd.

Most reviews focus on Murray’s comedic delivery, but what I love is how he plays Grimm as a man who’s barely holding it together. The closer they get to the airport, the more the city wears him down, and that slow burn is part of the fun.

Geena Davis as Phyllis: The Moral Compass

Davis gives Phyllis warmth and practicality, making her more than just “the girlfriend” in the heist. She’s the emotional anchor of the group, reminding Grimm and Loomis that there’s more at stake than just the money.

It’s worth noting that Davis was coming off The Accidental Tourist and Beetlejuice here, and she brings both dramatic grounding and comedic timing. Watch her reactions in the background; she’s often the audience’s stand-in, processing the insanity around them.

Randy Quaid as Loomis: The Wild Card

Before his later career turned into tabloid fodder, Randy Quaid was a master of playing lovable idiots. Loomis is the kind of guy you want on your trivia team but not in your getaway car. He’s jittery, gullible, and constantly making bad situations worse, but somehow, he never tips over into being annoying.

Quaid’s big-eyed panic in the face of each mishap gives the movie some of its biggest laughs.

The Real Villain: New York City in the Late ’80s

One of the most overlooked elements of Quick Change is how it captures a very specific moment in NYC’s history pre-Giuliani, post-70s decay, in that messy in-between era. It’s a place where navigating the streets feels like a full-contact sport, and every random encounter can derail your plans.

The city isn’t romanticized here; it’s chaotic, loud, and indifferent to your problems. It’s almost a precursor to the “New York as antagonist” vibe you see in movies like After Hours or Collateral.

Small Roles, Big Impact

One of the film’s greatest strengths is its supporting cast:

• Jason Robards as the weary police chief who respects Grimm’s brains even as he hunts him.

• Tony Shalhoub in an early role as a non-English-speaking cab driver, turning confusion into comedy gold.

• Philip Bosco is a hilariously unhelpful bus driver who might be the most New York character ever put on screen.

These brief appearances flesh out the city as a living, unpredictable organism.

The Humor: Situational, Not Slapstick

Unlike a lot of comedies from the era, Quick Change doesn’t rely heavily on pratfalls or over-the-top gags. The humor comes from escalating inconveniences and the characters’ increasingly desperate attempts to stay on track.

It’s a comedy of logistics; the laughs come from watching a perfect plan disintegrate one detour at a time.

The Co-Directing Touch

This was Bill Murray’s only time in the director’s chair, and it shows in the way he paces the comedy. Scenes aren’t rushed for quick punchlines; they’re allowed to breathe, letting tension build until the absurdity becomes undeniable. Howard Franklin’s experience (he also wrote the screenplay) balances this with tight plotting that keeps the momentum moving toward that final airport dash.

Themes: Control vs. Chaos

At its core, Quick Change is about the illusion of control. Grimm’s plan accounts for everything except the random, uncontrollable elements of life in a big city. By the end, the trio has been through so much that the money feels almost secondary to just getting out.

It’s a rare heist movie where the tension isn’t “Will they get caught?” but “Will they ever get there?”

Why Quick Change Still Works Today

Even though the New York of Quick Change doesn’t quite exist anymore, anyone who’s dealt with a broken transit system, bureaucratic red tape, or citywide gridlock will relate. The obstacles are exaggerated, but the frustrations are universal.

And with its tight runtime, sharp script, and perfect casting, it’s a breezy watch that still lands every joke.

Final Thoughts

Quick Change isn’t just a hidden gem; it’s a reminder that the getaway is half the story. Bill Murray, Geena Davis, and Randy Quaid make a fantastic team, and the film’s mix of dry wit and escalating absurdity gives it a timeless appeal.

If you’ve only ever thought of Murray as the king of deadpan, watch Quick Change to see him as a man trying desperately to keep his cool while the city conspires against him. It’s as much a love letter to New York as it is a roast, and that’s what makes it great.