You know that feeling when you're watching a movie and you can just tell the lead actor is having the time of their life playing a total jerk? That’s basically the vibe of St. Vincent. Released back in 2014, it’s one of those rare films that manages to be incredibly cynical and shamelessly sentimental at the exact same time. It features Bill Murray as Vincent MacKenna, a man who is, quite frankly, a disaster. He’s a heavy-drinking, gambling-addicted Vietnam vet living in a run-down house in Sheepshead Bay, Brooklyn. He spends his days losing money at the racetrack and his nights with a pregnant Russian sex worker named Daka, played by a very committed (and very accented) Naomi Watts.
Then Maggie moves in next door.
Maggie, played by Melissa McCarthy, is a stressed-out radiology tech going through a messy divorce. She’s got a young son named Oliver, played by Jaeden Martell (then Lieberher). Because Maggie works long hours and Oliver is—well, he's a kid who gets his phone and keys stolen on his first day of school—Vincent becomes the world’s least likely babysitter.
The Bill Murray St. Vincent Movie: More Than Just a Mean Old Man
What’s fascinating about the bill murray st vincent movie is how it handles the "grumpy old man" trope. We’ve seen this a million times, right? The curmudgeon with a heart of gold. But Vincent doesn't just have a heart of gold hidden under a sweater; he has a Bronze Star from the Battle of Ia Drang and a wife in a high-end nursing home whom he visits religiously, even though her Alzheimer's means she hasn't recognized him in years. He does her laundry. He brings her treats. He pays for it all by winning—or more often losing—at the track.
The movie was written and directed by Theodore Melfi, and the backstory of how it got made is actually pretty wild. Melfi was a first-time director at the time. He didn't have a big studio connection to get to Murray. If you know anything about Bill Murray, you know he doesn't have an agent or a manager. He has a 1-800 number. You leave a message, and maybe, if the stars align and he likes your voice, he calls you back. Melfi left messages for months. Eventually, they met at LAX, drove around in a town car for hours, stopped at In-N-Out Burger, and Murray said yes.
Honestly, the film works because of that specific Murray energy. He’s not "acting" like a crank; he is the crank.
Why the Critics Were Split (But Audiences Loved It)
Critics were a bit of a mixed bag on this one. It’s got a 77% on Rotten Tomatoes, which is solid, but the common complaint was that it felt "manipulative." And yeah, it kinda is. There’s a scene at the end involving a school assembly where Oliver has to give a speech about a "modern-day saint" for his Catholic school project (led by a great Chris O'Dowd as Father Geraghty). You can see the emotional payoff coming from a mile away. It’s a total tear-jerker.
But does that make it bad? Not really.
- The Chemistry: Murray and Martell have a genuine, unforced rapport. Oliver isn't a "movie kid" who is too precocious; he’s just a observant, lonely boy who sees through Vincent's BS.
- The McCarthy Factor: This was one of the first times we saw Melissa McCarthy play it straight. She’s not doing the Bridesmaids shtick here. She’s a mom who is barely holding it together.
- The Cat: We have to talk about Felix. Vincent’s white Persian cat is a recurring character that adds a layer of unexpected softness to his domestic chaos.
The film grossed about $54 million on a $13 million budget. That’s a massive win for an indie-leaning dramedy. It even snagged Murray a Golden Globe nomination.
What People Get Wrong About Vincent
A lot of people think this is just a comedy. It’s not. It’s a movie about the hidden burdens people carry. Vincent is a hero who doesn't feel like one. He’s a husband who is grieving a living person. He’s a neighbor who teaches a kid how to defend himself—not with a speech about "inner strength," but by showing him how to close his fist and throw a punch.
It’s messy. Life in Brooklyn is loud and dirty, and Vincent’s house is a hoarder's nightmare. But there’s a dignity in it that Melfi captures perfectly.
Actionable Takeaways for Movie Buffs
If you’re planning to revisit the bill murray st vincent movie, or if you’re seeing it for the first time, keep an eye on the details.
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- Watch the credits: There is a long, single-take shot of Murray sitting in his backyard, wearing headphones, smoking a cigarette, and singing along to Bob Dylan’s "Shelter from the Storm." It was mostly improvised and it’s arguably the best scene in the movie.
- Look for the "Saint" parallels: The movie is structured around the Catholic school's assignment on saints. Notice how Vincent’s "vices" (the gambling, the drinking) are framed alongside his "virtues" (his loyalty to his wife, his protection of Oliver).
- Check out the soundtrack: Theodore Shapiro’s score is great, but the song choices—like The National and JD McPherson—really ground the film’s "modern Brooklyn" feel.
The movie reminds us that being a "saint" isn't about being perfect. It's about showing up. Even if you're showing up late, smelling like cheap bourbon, and driving a beat-up woody wagon.
To get the most out of your next viewing, try watching it as a double feature with Lost in Translation. It’s a fascinating look at the "Late-Era Murray" evolution—moving from the weary, detached traveler to the gritty, grounded neighbor. You'll see a clear through-line in how he uses silence and small gestures to say way more than the dialogue ever could.