User Reviews

COCOON is not at all similar to every other science fiction movie (the ending is a pure exception), but this uses fantasy and magic as a way to express a heartwarmth feeling. What happens when the good elderly citizens of a retirement community discover the "fountain of youth"? It's movies like this going away from the perilous trap and concentrates deeply on our human characteristics. A large cast of older stars, including the late couple Hume Cronyn and Jessica Tandy, contribute to the warmth and amusement of a non-violent "sci-fi" picture that is a breed apart from the rest. They act as if they're "young again" with incredible energy, and the moments offer the kind and gentle possibilities that wouldn't redeem this as science fiction, but it is. Ron "Ritchie" Howard gives this a whole new acclaim for internally giving us the human spirit that lies within an outside force. For those who crave hard on science fiction, COCOON is a slight misunderstanding due to the light-hearted story it has to offer. What's more entertaining than seeing old folks push over the limits of their acting potential? As Wilford Brimley once said in Quaker Oats commercials, "It's the right thing to do.". Which also means COCOON is the right movie for showing off a different dimension of our feelings inside. And different is right!

1985's Cocoon, directed by Ron Howard, asks - would you give up the emotional, mental and physical pain of growing old if you could? Baby boomers today feel that death is optional and seek out whatever it takes to make them feel and look young - so if Cocoon came out in 2008, it would perhaps resonate even more.

The story takes place in a rest home inhabited by a group of friends: Arthur (Don Ameche), Benjamin (Wilford Brimley) and his wife Marilyn (Maureen Stapleton), Joseph (Hume Cronyn) and his wife Alma (Jessica Tandy) and a perky red-head Bess (Gwen Verdon). The guys have taken to going to an abandoned pool house and swimming - without permission, of course. Then the building is rented by a man (Brian Dennehy). This same man also rents a boat from Jack Bonner (Steve Guttenberg), who is down on his luck and can use the money. He watches Jack, his beautiful assistant Kitty (Tahnee Welch) and some other people skindiving and bringing up huge silver packages. These packages are then dumped into the pool. After the men swim there one day, they find themselves suddenly rejuvenated and start having sex, staying up, nightclubbing and having more energy. Meantime, on the boat, Jack has gotten a look at Kitty getting ready for bed...and notices that she removes her skin as well as her clothes and glows in the dark.

This movie has many poignant moments - Alma coming to grips with the fact that her husband has always cheated, and the saddest of all, when Bernard (Jack Gilford) who has been violently opposed to the whole idea of the pool as a fountain of youth, desperately brings his wife there.

Howard cast this with an eye toward man's normal immortality - children - with Raquel Welch's daughter and Tyrone Power's son, Tyrone Power Jr. as Pillsbury - while telling the story of people who have a chance at a different kind of immortality. Both Power and Welch bear strong resemblance to their famous parents. The old-timers in the cast are among the greatest actors of their generation and sadly, we've lost nearly all of them now. Only Wilford Brimley remains. The film revived Don Ameche's career, and the cast returned for a sequel, "Cocoon: The Return." A wonderful film to see the old stars in a very touching story and to ask yourself - if you had the chance, would you take it?

Made 20 years ago with some former well-known actors, this film has stood the test of time very well and delivers a very interesting and thought-provoking story about the mortality of man.

A group of people in a retirement village discover a neighbouring swimming pool which is out of bounds, but they have fun in it nevertheless. There are some strange objects lying on the bottom of the pool, but even more strange is the fact that after swimming there the old folk feel transformed and the vigor of their youth returns to their bodies. This makes for some light comedy as their hormones begin to take over.

These old people have a very serious decision to make and it is not an easy one. This is probably the best part of the film. Should they accept or decline the invitation? Having made the decision there is no turning back! We ask ourselves...what would we do placed in their circumstances? We feel very much involved. Thinking it over, isn't this proposal very much like what the Christian churches are promising us?

The final memorial church service by the sea is such a fitting ending and the little grandson David gives such a knowing smile as he raises his eyes to the sky.

Cocoon is a charming science fiction fable by the underrated Ron Howard. Howard is an amiable, frequently baseball-capped figure who, in the 70's, became a familiar face through his 6 year stint as Richie in TV's Happy Days. Cocoon followed immediately after Splash! (1984), another successful fantasy. It exchanges the Tom Hanks figure featured in that film with a similar one played by Steve Guttenberg, another romantic innocent. But whereas in the earlier film Hanks had a central role, here Jack Bonner (Guttenberg) has far less prominence. This is perhaps because of Guttenberg's modest acting abilities, but principally so the narrative can focus more securely on the characters that matter – the community of senior citizens facing their twilight years at the Sunny Shores Retirement Center.

Cocoon's achievement as a film is all the more remarkable when one reflects upon the scarcity of active, old people in American cinema, let alone a group of them presented so positively in a state of sexual re awakening, then led to such an upbeat conclusion. Behind this apparent optimism, however, the thoughtful viewer can still reflect on some final doubts and uncertainties.

The central circle of old people, around whom events turn, together prove a fine acting ensemble. Arthur (a still svelte Don Ameche), Ben (Selwyn Wilford Brimley) Jo (Hume Cronyn), Bernie (Walter Gilford), Alma (Jessica Tandy), Bess (Gwen Verdon) and the others are a convincing unit, squabbling, relating and facing the end of their lives with cantankerous dignity which is entirely convincing. Tandy and Cronyn were married in real life. Many of film's most poignant moments of the film spring from the relationships between these people. The quiet passing of Rose for instance, and her husband's grief by her bedside. Notable too is the wooing by former song and dance man Ameche of his new lady love, a process during which he shows no lessening of time-honed screen courtesy and assurance. During the opening of the film, Arthur and Jo's witnessing of an unsuccessful resuscitation is a stark reminder of the mortality of the principals, sadly off and on screen. Cocoon was a last hurrah for many of the elderly cast (although one or two survived advancing years to appear in the terrible Cocoon 2(1988)).

The other major character group are the Antareans. Here too a refreshing leap out of the stereotypical is taken as the aliens prove reasonable, non aggressive and forgiving – perhaps characteristics inspired by Spielberg's influential and amenable ET (1982) or the religiosity of Close Encounters of the Third Kind (1977). Jack Bonner's near hysterical reaction to their initial unmasking ('If you try and eat my face off you'll be very, very sorry'), his following conversion then inevitable dalliance, are all handled with an effective lightness. Even Howard's depiction of an alien orgasm on screen as Jack romances Kitty (Tahnee Welch) without touching, in the life giving pool, is done sensitively. It is perhaps the most striking moment of its sort in Science Fiction cinema since Woody Allen's Sleeper (1973). Cocoon is a film in which sexual energy is equated closely to an amplified life force and is seen as both positive and welcome. Both young and old feel the replenishment of their passion, directly or indirectly, in connection with the cocoon tank. Here the items retrieved from the sea are settled at the bottom, somewhat ominous reminders of a life to come. The title itself is suggestive, not only of the typical dormacy of a chrysalis, but of impending rebirth such an object heralds. As the oldsters rejuvenate with the 'fountain of youth', they find new meaning and value in their lives, a belated development which even leads to the sad break up of families. The desire for life can be selfish, even when healthily expressed, and some prefer to 'stick with the hand nature has given' them.

The Antarean's recovery of their 'ground crew' is what brings them to earth. While their leader's account of them having originally lodged themselves in what was Atlantis is slightly hoary (their bases apparently having sunk during the 'first great upheaval') the film wisely seers away from too much alien hardware. Apart from the pretty device on the deck of Bonner's boat, and the splendours of the returning mother ship, very little technology is glimpsed. The Antareans are certainly strange, but lacking much hard evidence of their difference enables the audience to relate to them easily. Even their unskinning, as they emerge as their true, shining selves, is a wonderous event, a shining transfiguration with no implicit threat to humanity.

These are aliens associated with whiteness and with life, forgiving and considerate, exhibiting 'christian' values. They radiate and float like angels when emerging from human covering, and their ship takes the departing OAPs up into the light. Hollywood readily associates such light with the rewards of heaven (for other examples of the brilliance bestowed upon the departing see The Frighteners (1996) or Jacob's Ladder (1990). Substitute the pool of life for baptism, the smiling Walter (Brian Dennehy) for a prophet, and Cocoon's alien spaceship might just as easily be the Gabriel leading the faithful to paradise.

But what of the end of the film? Is it really as happy and as affirmative as it first seems? Bonner has made great play with his responsibility as a skipper in an earlier scene with Kitty. At the conclusion he might, therefore, reasonably be held to account for his loss of a cargo of elderly transportees. At least one extended family is broken up by their leaving. And Walter has to return home, his mission a failure, together with a boatload of unexpected guests. At the least the final ascension is a complex event, leaving some tensions unresolved. That Cocoon manages to hold all these elements together in a satisfying whole is one reason to seek it out. To enjoy a warm hearted family film is another.

Very few films have been made with seniors as the main characters. It seems that Hollywood producers are convinced we prefer to see younger people on the screen -- and they're probably right. "Cocoon" is a rare elderly-focused take on the fountain of youth concept, an ancient motif that's enough proof in itself that humans desire young age, whether in general or at the movies. Although science fiction, "Cocoon" is simple and mild-mannered like its lovable old protagonists. It might be light on drama but it's big on heart.

Loaded with stars from yesteryear, among them Don Ameche, Hume Cronyn, Jessica Tandy and Gwen Verdon, one could say "Cocoon" was an '80s alien movie made specifically for an older crowd. And that's fair -- they deserve it. It's as if director Ron Howard was hoping to give his cast some of their youth back in letting them take prominence in the film, based on a story by David Saperstein and screenplay by Tom Benedek. It's not riveting sci-fi material but it prompts an honest conversation about aging, one that in reality someone of any age could understand and appreciate.

The film takes place in a senior living center in St. Petersburg, Florida. As part of their recreation time, three of the senior men enjoy swimming in the abandoned pool just through the woods around the center. When a strange group of people come in and buy the old house and rent a boat at the dock, the stubborn old guys still come to swim in the pool, only it appears the people are storing rocks in the water. They swim anyway and find that with the rocks in the pool (actually alien cocoons) that they feel energetic, rejuvenated -- and younger.

Howard's film is easygoing. There is not a lot of suspense or gripping conflict. Instead, you watch and get a kick out of the way these seniors and their wives behave having been affected by the water. Their sex drive, for example, reappears to comic effect and there's general misbehavior. They all come off as bigger children and each have a different reaction to this "cheating" of age. Thus the film's core conflict of whether it's right to defy nature appears and guides the rest of the film. It's a replacement for any major form of antagonism.

"Cocoon" is touching because the story is very frank in portraying these seniors as having nothing to live for but each other and whatever remaining family they have. When you're that old, a chance at prolonged life is like being granted a whole new world of opportunity whereas you're just biding time when you're old and physically and mentally unable to do the things you used to.

There have been better stories, better special effects (although this one an Oscar in 1985) and better science-fiction films, so "Cocoon" is best appreciated as a unique film about old age, something movies rarely focus entirely upon.

~Steven C

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A lightly entertaining comedy-drama from Ron Howard.

Interesting plot that isn't very watertight. Feels very loose and slapped-together.

Whole movie, in fact, lacks the gravitas necessary to make it a classic. Starts to feel like a chase-caper toward the end.

Performances are so-so. Wilfred Brimley does a solid job and Don Ameche got a Best Supporting Actor Oscar and most of the performances are fine, just some seem very unconvincing. Tawnee Welch is particularly bad, and Steve Guttenberg should really stick to B-grade comedies.

So, quite disappointing for such a well-known movie.

However, not all bad. It keeps up a decent pace, is never dull, concept is reasonably original (if not sound) and does pose some interesting questions about life. Watchable.

"Cocoon" is a fine example of how films have everything to do with their predecessors. Ron Howard, the director, acted as a child in a "Twilight Zone" episode and his film "Cocoon" could almost be a feature length remake of another "Twilight Zone" episode called "Kick the Can," which is very similar in concept, mood and effect, except it has no element of outer space aliens. This is not a criticism though, the story idea is a classic one and well done in its updating. For many viewers much of the appeal came from the appearance among the cast of former matinée idols, an approach which has also worked well in a number of other films made since the end of the "Golden Age."

This is one of my all-time favorite movies, for a variety of reasons: A) It treats the theme of aging with such tenderness and doesn't reduce the older characters to props, B) It evokes questions about the supernatural/the possibility of life "out there," and C) The location (Florida) looks so pleasant and inviting. I have loved this film since I was a child in the 80s, and it is still one that I watch over and over (and I still cry at the same spots every time). I have to also say that--in my opinion at least--the characteristic feature of every great movie is a great score/theme melody. Cocoon definitely has it, yet without feeling "epic" and overpowering; the same plucked melody chimes in quietly at all the right moments in the film, lending a profound and quiet connection with each character (even the extra-terrestrial ones). There are moments in this film where, if you don't shed a tear, there must be something wrong with you. Highly recommended film :-)

I recently learned that this film was directed by Ron Howard. Being a fan of his movies, Ron Howard tests his skill in making this sci-fictional film as realistic as possible. 'Cocoon' as the title of the film goes centers on a group of senior citizens who get unexpected vigor on swimming in their neighbor's pool. A superb cast and Steve Guttenberg of (three men and a baby)fame giving that comedy punch. It is a all time family entertainer.

The concept original and considering lot of sci-fiction movies emerged in the 80's , this film still stands for three things- oldies coming in form, exploring the unknown and last purpose in life.

"Do not go gentle into that good night, Old age should burn and rave at close of day; Rage, rage against the dying of the light." - Dylan Thomas

The senior characters of this modern day fable took this poem to heart.

When we first meet the motley group, they are as many of us dread one day becoming. Kept in a nursing home, days filled with vapid activities like shuffleboard or mah-jongg, whiling away hours floating in a deserted swimming pool, watching people your own age drop like flies. When that changes through the magic of alien technology, they become, if not the picture of reckless youth, at least a semblance of the people they were once upon a time, proving the old cliché: you ARE only as old as you feel. In that, it's a good lesson for people heading into their golden years or even those of us just having midlife crises. We can't help but grow old. But it's up to us whether we want to BE old or merely mature.

For a science fiction movie, it would appear to have few special effects. This is an illusion. There are quite a few effects shots, although the variety of effects is rather limited. The glowing aliens are quite good except for the all too familiar hand movements by Caprice Rothe, who first did the job for "E.T." Still, by and large the effects are impressive and convincing even when compared against the latest films of the 21st century. Even more impressive was the poolhouse, which was hastily constructed purely as a setpiece for the movie. It looks absolutely real, as if it had sat there among the Florida palms for decades.

Tahnee Welch, daughter of the seemingly ageless Raquel, was wholesomely fetching here. Whether she was a limited actress or merely underplaying the role is for others to decide. Ron Howard wisely kept Steve Guttenberg's role limited, focusing mainly on the older characters. A little Guttenberg goofiness goes a long way. Also present are the standard Howard family repertory, with brother Clint as the nursing home attendant and father Rance making a brief appearance as a detective. Much as already been said about the excellent performances of the older cast members. This was, after all, the role that finally won an Oscar for Don Ameche. But they're slowly slipping away from us, one by one. First Jack Gilford, then Ameche, then Jessica Tandy and recently Gwen Verdon. At least we'll have this movie to remember them by. Maybe they weren't at the peaks of their careers, but quite possibly the roles they fit most comfortably.

Two attempts to cash in on this movie failed. Both 1987's "*batteries Not Included," starring Tandy and Cronyn, and the 1988 sequel "Cocoon: The Return" flopped. Neither had the genuine warmth of this original. Ron Howard showed good judgement in turning down the chance to direct the sequel.

As for the musical score, it's one of James Horner's better works, mixing symphonic grandeur with childlike wonderment. Alas, he does fall into old habits and reuse some bars and measures from his "Wolfen" and "Star Trek II" scores.

It's a shame this movie never found the audience it deserved. I first saw this in a shopping mall four-plex a couple of weeks after its release. There couldn't have been more than 20 people in the entire theater. The whole movie holds up remarkably well in the 16 years since, except for the break dancing. My god, has it been 16 years already? Where can I find some Antarean life force?

What could have been a simple disaster movie took a late turn into the depths of mysteriousness and emotional ignorance. Like a horrible aftertaste, Cocoon starts out well and turns sour halfway into the meal. What Jaws (1975) did, Ron Howard decided not to do. Trading in simplicity for a screenplay of old people and aliens, he attempts to weave a tale of redemption and fate, instead finding himself directing an action movie with no purpose.

In fact, this movie has no purpose whatsoever. It says nothing, it accomplishes nothing, and it does nothing. It's a story for telling a story's sake. But where Inside Llewyn Davis (2013) tells a story because of the existence of the story, Cocoon must search out the material to make the story. And the screenplay looks long and hard for that inspiration for a good story – and gives up. So we get a movie with old people and aliens. A story where old people of Earth have more in common with aliens from some distant planet (that have apparently been to Earth already, explaining certain human legends) than with their own kind. But where E.T. the Extra-Terrestrial (1982) makes good use of moral children and friendly aliens, this movie decides to attempt to make a sentimental story with a stupid child and indulgent aliens. But wait…there's more! Don't forget the necessary, underdeveloped, and makes-no-sense-whatsoever love story – in this case between a human and an alien.

The beginning was decent however. Howard attempts to construct a slowly building tense storyline of gradually revealed twists. Which works until it feels like the movie should end at around the 80 minute mark instead of the 120 minute mark. The slow sci-fi drama of the first half is quickly overshadowed by the feel-good catastrophe of the second half.

Don Ameche was decent, but I think the Academy has something for old people, like Art Carney in Harry and Tonto (1974). While good performances, do they deserve the Academy Award? The visual effects were good for the time and not abused unlike many an action and sci-fi movie of today, not to name names. If only Howard could have kept the slow build up going, like Arrival (2016), he would have had a fine classic entry into the 80s sci-fi movie collection. Now, we just have Cocoon, the classically bad movie.

An E.T. fairytale for the elderly with a rejuvenating therapeutic gambit for visual and subconscious entertainment and a belated fulfillment to slam the ageism towards the senior.

Setting against a Sci-Fi backdrop, the special effects might not be cutting-edge even at its time (in a post-STAR WARS era, it is an insurmountable pinnacle, the same could be deduced now are in a post-AVATAR era), but serves benevolently to entice the concentrations and unleash a wacky but improbable plot of the expedition to the mystifying eternal longevity. The extra- congenial extraterrestrial Antareans are merely a wishful thinking, as human behavior has no exception will spoil their plan to rescue their companions sooner or later, their counter- behavior is inexplicably dumbfounded to be taken seriously.

The film has locked two Oscars, one for the visual effects, another is an utterly surprising Best Supporting Actor win for Don Ameche (whose pivotal showcase is a stupendous street-dance stunt in the film, apart from which there is scant room for him to testify his flair), which could be divined that it is no more than an acclaim to the film's pandering penchant for the demography as most academic members are over-50 white male, this film might help them to mitigate the fear of aging uselessly and hopelessly. Anyway the entire prestigious cast has stuck together to make the indulging fantasy more refreshing than off-putting, ironically the film itself has not aging too well, unlike the characters in the sanitarium, after a minimal 27 years span, it seems that the film backfires on Ron Howard and the team behind it, who in my opinion is an excellent Hollywood hack than a venerable filmmaker.

When a group of trespassing seniors swim in a pool containing alien cocoons, they encounter themselves energized with youthful vigor and they immediately begin to feel happiness and strength. That said , Don Ameche , Hume Cronyn and Wilford Brimley have winning days and their ladies Gwen Verdon , Jessica Tandy and Maureen Stapleton are nor far behind. Beyond the innocence of youth, and the wisdom of age, lies the wonder of... Cocoon ! . Cocoon have aliens !. It is everything you've dreamed of. It is nothing you expect !.

An old cast join to play this sweet and attractive film in which the old stagers make young alien contact . The plot deals with some aliens : Brian Dennehy, Tahnee Welch ,that seem to live more or less forever , returning to earth after an absence of 10.000 years to pick up crewmen they left in pods at the bottom of sea centuries before. Intelligent and charming portrayals of the sympathetic protagonists make this enjoyable trip just about worthwhile. All this takes rather a long while to get going and one could do with more of the hot-blooded antics of the elderly trio and the women who share their secret . Although the first hour or so is fairly tedious , but the latter stages are frankly well with some affecting and touching moments . Followed by Cocooon : the return (1988) by Daniel Petrie with similar cast : Wilford Brimley , Don Ameche , Hume Cronyn , Jessica Tandy , Don Ameche , Courtney Cox , Steve Guttenberg , in which our elderly protagonists undertake a journey to the most wonderful place in the universe... home and the Antareans return to earth because their alien friends have to collect the rest of the cocoons in the ocean, believed to be in danger from an earthquake . Interpretations are uniformly good carried out by a Hollywood old-star-studded , such as Wilford Brimley , Hume Cronyn , Jack Gilford ,Maureen Stapleton , Jessica Tandy , Gwen Verdon and Don Ameche , the latter gives a surprising acting who you'll especially enjoy his demonstration of breakdancing , a Eighties' trending dance. And others youngest , such as : Barret Oliver , Linda Harrison , Clint Howard and Tahnee Welch, Steve Guttenberg both of whom live a marvellous love story.

It contains a colorful and bright cinematography by cameraman Donald Peterman. Long-standing and sensitive soundtrack by James Horner combining synthesizer along with orchestral musical score . The motion picture well played by all-star-cast was competently but slowly directed by famous actor/filmmaker Ron Howard . From his starts as an actor, as he played George Lucas' American Graffiti , he's had a long career, as he went on as a filmmaker, shooting successfully, his film debut was Grand thef auto, following other hits, such as : Night shift, Splash, Cocoon, Gung Ho, Parenthood, Backdraft , Far and away, The Paper , Apollo13, Ransom , EdTv , The Grinch, A beautiful mind, Cinderella man, The Da Vince Code , Frost/Nixon , among others. Cocoon rating 6/10. The yarn will appeal to veteran actors fans and Sci-fi/fantasy buffs.

Retirement home residents are energized by alien pods being stored in a swimming pool. I'm not quite sure what the appeal is, but the sight-gag of an older person acting like a youth of today always brings the house down. "Cocoon" is a series of these sight-gags underscored with an kindly-alien theme, resulting in one sticky package. Successful with audiences and the Academy (with Don Ameche winning a Supporting Oscar), the film spawned several imitations such as "*batteries not included" and kept Ameche himself on a roll for awhile, playing wily old codgers. Ron Howard's direction here is sentimental but lively, and the older actors are glorious to see on-screen, but Steve Guttenberg and his broken down vessel are a chore (as is the old stand-by of having the boat's engine give out just when it counts the most). "Cocoon" rests heavily--frustratingly--on so many old, worn-out clichés that it turns into a witless pie a la mode; yet, it does build up a feeling of good will with its cast, so much so that many viewers don't mind wading through the obviousness of the entire conception just to get to the prolonged happy ending. **1/2 from ****

Hard to believe it, but there was a time when Steve Guttenberg was a major box-office draw, and Cocoon was one of the films that made it so. Directed by Ron Howard, this touching (some might say 'schmaltzy') sci-fi is strictly Spielbergian in tone: two hours of family-friendly fantasy with a warmth and charm that it's hard not to appreciate. The plot might leave a few unanswered questions, but the action is expertly handled by Howard, the film offering moments of joy, wonderment and tear-jerking pathos.

Guttenberg plays Floridian tour boat owner Jack Bonner, who discovers that the group of people who have hired his craft are actually extraterrestrials who have returned to earth after thousands of years to rescue their friends, who were left behind when Atlantis sank beneath the waves. Sealed in cocoons, the stranded aliens are retrieved from the sea bed and placed in a swimming pool to replenish their lifeforce, the very same pool that is frequented by three trespassing OAPs from a nearby home. When the trio - Art Selwyn (Don Ameche), Ben Luckett (Wilford Brimley) and Joe Finley (Hume Cronyn) - take a dip amongst the cocoons, they find themselves given a new lease of life.

With so much experience between them, it's no surprise that the old-timers steal the show, leaving Guttenberg and his otherworldly pals to play second fiddle. Gutternberg is adequate in his role, Tahnee Welch plays the spindly-limbed love interest from another galaxy, and Brian Dennehy is dependable as the leader of the aliens, but none of them can hold a candle to the breakdancing Ameche and his elderly pals, with a special mention for Jack Gilford as reluctant pensioner Bernie Lefkowitz, who seriously tugs at the heart strings when he tries too late to save the life of his wife Rose (Herta Ware).

The film does leave one wondering why the aliens took so long to return for their friends, why they are so happy to pop them back in the sea and take a load of meddlesome coffin-dodgers into outer space instead, and whether Jack is ultimately thrown into jail for manslaughter, but, hey, best not to dwell on these things... just sit back and enjoy the antics of the old people while trying to forget that Guttenberg's success in this film led to more Police Academy films and 3 Men and a Baby.

Some seniors find the long sought-after Fountain of Youth by accident, just by regularly sneaking into a neighbor's pool. I don't know if I'd swim in a pool that has moss-covered boulders tossed into it, but these guys do, and find their youthful vitality returning.

Unbeknownst to the men, aliens on a mission have rented the neighbor's place, and set up the pool as their base of operations. Fortunately, these were post-ET/Close Encounters beings, so they had benevolent intentions.

Great cast of some familiar faces, and the screen chemistry of the cast members is wonderful as they range from highly emotional to contentious in their interaction. The nursing home residents are marvelous in portraying their renewed joy of life. Don Ameche is dashing with the ladies, and acts the role of a youthful character very well. Hume Cronyn, Jessica Tandy, Mareen Stapleton, and Wilford Brimley are all great. However, the movie is certainly not all a feel-good warm fuzzies type of story; there are some sad tragedies that occur as the plot moves forward.

My one criticism is that the film lacks the courage to address its central theme, the idea of eternal life, only skirting its ramifications. Only one character rejects the idea, but generic platitudes (like "belonging here") he says explain nothing of his reasoning. The film doesn't analyze the people who desire immortality enough, either. We get a few morsels about missing baseball, fishing, and grandchildren. But this shallow analysis gives insufficient insight to this infinitely critical decision the characters are faced with.

It's an interesting tale, with a bittersweet message about our own mortality. A well done production that has you wishing the best for the characters, and contemplating what you might do if you were in their shoes.

Coccon is a heart warming movie about some old people living out their last few days of happiness in a retirement home . However things take a change when a few of them sneak into the pool next door and find their youth rekindled . It has a mix of everything this film , in places it will make you laugh , cry but in general it will keep you entertained . The cast all performed well and the film followed through nicely . A few minor flaws but i was willing to let that go just for the sake of light entertainment . This film can be watched and enjoyed by people who are not fans of the sci-fi genre but all in all a moving film , check it out if you ever have spare time .

Great fun, no forced comedy, good acting and a good story. Although the story itself is rather straight-forward and simple, the underlying theme is what really carries this movie. Its efforts to be emotional was the biggest letdown..

I rented this film for old times sack, having viewed it years ago in the 1990's. I did not care for it then, that opinion now, remains unchanged.

I think it was supposed to be a bland and silly comedy for whom? Well, that's the question isn't it, because I was 40 when I saw it and now in my maturity, hate it.

Why is that? Well, because because the script stinks and is so loaded with bland and absolutely worn out gimmicks and cliques.

The characters are not any worth liking and some sort of worthless. The script must have been written by a very beginning film author. It stunk.

Well, enough said. I was able to watch it only to the point where these old men begin telling each other about their boners. Click, whirred, rewind, lights out.