A tailor-made vehicle for Mexican comedy star Eugenio Derbez, the film — about an aging gigolo who’s abruptly tossed out on his saggy behind after being a kept man for 25 years — admittedly has commitment issues in its desire to be both an outrageous comedy and a tender family romp. But first-time feature director Ken Marino and his game cast, also including a terrific Salma Hayek, Rob Lowe, Linda Lavin, and Raquel Welch, succeed in goosing the funny bone more than they miss, which could position this release from Lionsgate’s Hispanic division as a bona fide player with its targeted demographic.

Having made good on a childhood pledge to never work as hard as his late father, Maximo (Derbez) has been contentedly living life as the pampered plaything of his much older wealthy wife, Peggy (Renee Taylor), ever since he was a 22-year-old stud (played by Derbez’ own son, Vadhir). But his free ride abruptly comes to an end when Peggy makes an 80th birthday present out of a baby-faced car dealer (Michael Cera), forcing Maximo, who had signed a pre-nup, out into the real world for the first time in his life.

He turns up on the L.A. doorstep of his estranged sister, Sara (Hayek), a widow with a nerdy, 10-year-old son, Hugo (Raphael Alejandro), but quickly finds himself trying to squeeze his neglected body back into Latin-American Gigolo mode when he eyes the filthy rich grandmother (Welch) of one of Hugo’s schoolmates.

Marino, a well-known actor who cut his directorial teeth on episodes of Burning Love and Childrens Hospital, is equally at home directing the broader physical comedy and sweeter bonding sequences between Maximo and Hugo, even as the overlong film’s two distinct personalities never manage to coalesce into a self-contained whole.

• 1.5/4 Roger Ebert
• 53% Metacritic
• 5.7/10 IMDb