"A mafia boss trains his mentally impaired son as his successor." I must confess that I have read few film synopses (Look it up and be proud, Grammar Police!) guilty of such derision. I must than admit that even fewER films one-up themselves in the Shame Quotient as the South Korean/American co-production, The Last Godfather, has done just that to itself by naming the "impaired son"--> YOUNG-GOO. This must be the South Korean progression of our dreadfully-Americanized "Fockers" (Meet the Parents etc.) which -- itself -- couldn't help but play/flail around with "the godFocker" term a few times on its very own (in its third "film" in the franchise). Being that both films star Harvey Keitel (Reservoir Dogs, Pulp Fiction, Cop Land, Thelma & Louise) -- !!! TRIPLE EXCLAMATION POINTS IN-ALL-CAPS !!! -- say so much about what we have found oursleves watching. The once highly-respected and lauded Keitel was an elusive "get" (otherwise explain The Piano [shall I dare this upon anyone ... anyone?], Bad Lieutenant, Get Shorty or Bugsy) who's appreciation for craft and the art of movie-making has been hijacked by a lesser-actor going through the motions for a paycheck. I wouldn't bemoan the "loss" of a single actor to this greedy-phenomenon if it didn't actually lessen the entire medium and produce shoddy product. Keitel is just one of the latest in the stream of Hollywood-ized (as I'm sure it is global) sell-outs and the only reason he is getting my time-of-day (at present) is because there is nothing else of interest to mention in this bizarrely juvenile and despicable The Tardfather. Yes -- cringe -- we could cry foul ... but isn't that the word they were REALLY aiming for all along?.