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The Freshman

The Freshman

Comedy · Crime · 1990

After a film student gets his belongings stolen, he meets a mobster bearing a startling resemblance to a certain cinematic godfather. Soon, he finds himself caught up in a caper involving endangered species and fine dining.

Movie details

The Freshman

“He was on his way to the Dean's List, but he wound up on the hit list.”

1990 Comedy · Crime 1h 42m

Critical arithmetic

The consensus, allegedly.

IMDb

6.5 / 10

22.4K votes

Rotten Tomatoes

94 %

Tomatometer

Metacritic

78 / 100

Metascore

TMDB

6.3 / 10

Community rating

External scores via OMDb · CC BY-NC 4.0. Values normalized for display; availability varies by title.

After a film student gets his belongings stolen, he meets a mobster bearing a startling resemblance to a certain cinematic godfather. Soon, he finds himself caught up in a caper involving endangered species and fine dining.

CriticWise case file

What this film says about your taste.

Not a recommendation score. A measure of how closely the film’s taste signals resemble yours.

The archetype split

Who fights over The Freshman?

The split comes from the same five-axis model used by the test, not audience ratings or review sentiment.

Taste neighbourhood

Nearby on the taste map.

TMDB supplies the candidates. CriticWise reorders them by craft, strangeness, prestige, emotion, and pace.

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Where it lives

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Streaming availability data supplied by JustWatch.

Names above the title

The people responsible.

Directed by

Andrew Bergman

Written by

Andrew Bergman

Marlon Brando

Marlon Brando

Carmine Sabatini, aka Jimmy The Toucan

Matthew Broderick

Matthew Broderick

Clark Kellogg

Bruno Kirby

Bruno Kirby

Victor Ray

Penelope Ann Miller

Penelope Ann Miller

Tina Sabatini

Frank Whaley

Frank Whaley

Steve Bushak

Jon Polito

Jon Polito

Chuck Greenwald

Kenneth Welsh

Kenneth Welsh

Dwight Armstrong

Court is in session

Put The Freshman on trial.

Two incompatible taste archetypes. One film. Read the arguments, then issue a completely binding cultural ruling.

The defence The Popcorn Loyalist

“It owes the canon nothing.”

The movie pursues immediacy and audience pleasure without begging institutions to certify its worth.

The prosecution The Prestige Tourist

“Easy pleasure, short half-life.”

It moves efficiently through the moment but offers little reason to keep arguing once the credits end.