The title role of Cookie is played by Emily Lloyd and she's showing signs of following in the footsteps of dear old dad Peter Falk who is just finishing a dozen years in prison for labor racketeering. He's got a parole coming up and hopefully Lloyd's juvenile antics won't screw up his parole.

Cookie follows the plot premise of Angels With Dirty Faces where Rocky Sullivan takes a fall for the other guys does a stretch and now wants to move back in. And just like that there are an array of people who don't want him back and a US Attorney Bob Gunton who'd like to send Falk back to the joint.

I have to say I didn't find this as funny as I should have given the cast. I would have expected more from a cast that included Michael V. Gazzo, Lionel Stander, and Jerry Lewis. I should exempt Lewis somewhat, he has a straight dramatic role and does well in it. But it was like I was waiting for Jerry's shtick.

The women do well, besides Lloyd, Falk is torn between two women. Mistress Dianne Weist who is Lloyd's mom and his mafia daughter wife Brenda Vaccaro. Brenda's the best one in the film.

Fans of the players should be happy though.

The movie starts with Carmela 'Cookie' Voltecki (Emily Lloyd) mourning at the funeral of Dominick Capisco (Peter Falk) and then it flashbacks a few months earlier. Cookie is a wild rebellious teen. Her mother Lenore (Dianne Wiest) is the secret mistress of imprisoned gangster and her father Dominick Capisco. He's getting paroled and forces Cookie to get a mob job. She eventually becomes his driver. Bunny (Brenda Vaccaro) is his unhappily mob-marriage wife. He wants his money and get out of the business but his partner Carmine (Michael V. Gazzo) has squeezed him out. U.S. Attorney Richie Segretto (Bob Gunton) has set his sights on Dominick mistakenly assumes him to have returned as a mob boss.

This is directed by Susan Seidelman and written by Nora Ephron and Alice Arlen. This female group has created a mob movie with a few quirks, little tension and even fewer surprises. It's led by two mannered performances from rebellious Emily Lloyd and old tough guy Peter Falk. I like both actors but the movie is rather forgettable. It's not as quirky or funny as it thinks it is. The writing really doesn't have an edge. It has a few action scenes but the intensity is not terribly high. There are better mob comedies elsewhere.

The usual suspects support Peter Falk and Emily Lloyd in Susan Seidelman's mob comedy. He's coming out of prison after thirteen years and wants his money from Michael Gazzo. She's his illegitimate daughter by Dianne Wiest, a street kid and "famous screwup" who winds up driving for him. Gazzo has no intention of paying him, of course. In fact, Falk is so annoying that Gazzo wants him dead, and with guys like these, the wish is usually father to the deed.

All the Mafia movies of the 1970s had their inevitable reaction in the late 1980s of mob comedies, and this is one of the best of them. Sociologically, these films marked the middle of the Mafia's decline. It seemed every mook flipped for witness protection and a book deal. Newer, more violent gangs were taking over the drug trade, Off Track Betting gutted the bookies, and Waste Management took over garbage collection. Organized Crime was still feared, and the legend persists, but the grandsons of capos now largely run legitimate businesses; they've assimilated.

Jerry Lewis has a sizable role, and Lionel Stander is on view as an aging capo di tutto capi, as are Brenda Vacarro, Adrian Pasdar, and lots of shots of grungy outer boroughs and Atlantic City.