Billy Buddusky and Richard Mulhall would not normally be friends. In another line of work they would scarcely converse apart from perhaps the odd small talk and polite nod. But circumstances and life choice have pushed them together to transport a prisoner to Portsmouth Naval Prison, so they begrudgingly strike up a partnership of sorts, if only so that the five days are not too unbearable. Then you throw in the gangly, awkward Larry Meadows, a young sailor being imprisoned for a small crime, and suddenly they look like a makeshift family. Over the course of the journey, two soldiers transporting a criminal slowly becomes a family road-trip. Like any odd couple the pair have their differences on how to treat and raise their son. In the middle of the film, Mule momentarily has a change of heart, chastising his partner on his whole coddling act. It won't do him any good for the harsh punishment he is about to endure, he reason. Billy indeed acts as a helicopter parent, albeit a hostile one. He demonstrates his learned masculinity in acts of lavish drinking and violence as if Larry was a toddler who mimics all he sees. When Larry refuses to stand up for himself, Billy utters the words for him, sending back a sandwich. "You're gonna have a f*cking beer," he snarls later. Because drinking is basically a masculine rite of passage in certain social circles, this is not just a pleasant invitation, but a demand. He will not take failure for an answer. Nicholson is loud and brash, as this is the only way his character knows how. Young acts as the more moderate counterpoint, hellbent on completing the mission at hand as we witness momentarily, but he too learns to fit in and accept the camaraderie, and his role in the unit. When Larry finally has the courage to send back his eggs, the two chuckle and pat him on the back as though he was a boy learning to ride the bicycle. What a memorable moment. Quaid is the one who pulls it all together. Perhaps he does not defy his gigantic frame so much as he grows into it; his height only serves to accentuate his nervous, timid manner, the way he always seems to have his hands in his pockets and his head bowed, having to be goaded and pushed into action. The first time I watched this I had the feeling that the ending was rather incomplete. It ends on an abrupt note; there is no extra story to be told after their assignment is finished, no sign of any closure for the trio's journeys. But seeing it now it all makes much more sense. The pair don't have the courage or guts to actually do something about the injustice of an eight year imprisonment for stealing forty dollars - the best they can do is a small white lie. So instead they try to distance themselves from the act and pretend after all the fun and bonding over beating up marines and snowy bbqs they aren't actually invested in the life of their prisoner. Not a moment after they are back to bitching about the little insignificant things. And they don't even want to stick around, but rather make their own separate way back. There's something very sad about the fact.

In one word: this is MASCULINE. Manly, virile. This is a man's film, in everything that's wrong with that, and everything that's fine with that. A couple of more seasoned marines have to escort this young delinquent, who's really a nice young 'fellar' but with issues, to some prison. Along the way, they develop a liking for each other and form a group of pals. Jack Nicholson is a slightly unbalanced person himself as depicted multiple times, and the adventures pile up with these three tearing it up in the open spaces, from fun with alcohol and other pleasures of life, to fights or coming across some of the more particular places in town. It's a fun ride, the acting is very good and captivating, the story lets itself be told and all in all this is quite entertaining. Although this is the sort of film that will never add a second layer to itself, and is really event-based and nothing beyond that, it's exactly what it wants to be and does it well. All the way up til the end does this film stay true to itself.

"The Last Detail" is one of those movies where some good ol' boys take a square out and show him a good time with alcohol, drugs, and sex. Of course he's a virgin, isn't much used to beer and has never touched marijuana.The problem with the movie is the character at its centre. The square is a bit too much of a dullard to keep the likes of Jack Nicholson sidelined. He doesn't really become a "character" in any tangible sense until the ending, which is quite touching. In the film's second act, however, you get a bit tired of looking at him, so much so that the blink-and-you'll- miss-it first screen appearance of the beautiful Nancy Allen seems like more of a highlight than it should.Nicholson was never a supporting actor. Someone with his unhinged energy - which gets a fine display here - has to be centre stage. We get too much of Randy Quaid, who shows us too little to care until it's almost too late.

Buddusky (Jack Nicholson) and "Mule" Mulhall (Otis Young) are weary sailors assigned to escort young Meadows (Randy Quaid) from Norfolk to Portsmouth. Meadows tried to steal $40 from the Polio contribution box which is the favorite charity of the admiral's wife. They plan to take the slow route and save the per diem to spend on the way back. However they take pity on the poor sap Meadows who is about to spend 8 years in the brig. They take him to find some good times at the big city stops along the way.It's a bit meandering as a story but Nicholson gives a good performance. He's the undisputed star every time he's on the screen. Randy Quaid is playing a timid character. Sometimes he gets off a good laugh. In general, the movie is a slow moving comedy from director Hal Ashby with a few very good laughs.