
The judge sentences slumlord Louie Kritski to six months living in his own dilapidated building. Facing jail, Kritski must endure the rat‑infested, uninhabitable apartments and bring them up to livable standards, confronting his own negligence and the tenants’ squalor.
Does The Super have end credit scenes?
No!
The Super does not have end credit scenes. You can leave when the credits roll.
Explore the complete cast of The Super, including both lead and supporting actors. Learn who plays each character, discover their past roles and achievements, and find out what makes this ensemble cast stand out in the world of film and television.

Joe Pesci
Louie Kritski

Vincent Gardenia
Big Lou Kritski

Daniel Hagen
Construction Worker

Olga Merediz
Female #2

Rubén Blades
Marlon

Stacey Travis
Heather

Madolyn Smith Osborne
Naomi Bensinger

Eileen Galindo
Linda Diaz

Carole Shelley
Irene Kritski

Daniel Margotta
Pool Shooter #1

William Roberts
Big Man

Pepe Douglas
Hooter #1

Anthony Caso
Arsonist

Todd Monteiro
Milkman

Leland Gantt
Male Tenant
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Which actor portrays the slumlord Louie Kritski?
Read the complete plot summary of The Super, including all major events, twists, and the full ending explained in detail. Explore key characters, themes, hidden meanings, and everything you need to understand the story from beginning to end.
Louie Kritski Joe Pesci is a heartless slumlord who inherited his wealth from a ruthless father, commonly known as “Big Lou” Vincent Gardenia. When a judge threatens prison for letting his New York City tenements fall below code, a second option is put on the table: Louie must move into a vacant apartment within one of his own dilapidated blocks and bring it up to livable standards before the clock runs out.
The sentence effectively acts as house arrest. Louie may only step out for routine exercise, grocery shopping, medical reasons, or essential building repairs. He is prohibited from making any changes to the unit he’s assigned unless every other apartment has already received the same upgrades. The stakes are high: if the building isn’t fully repaired within the allotted time, prison awaits. At the start, Louie digs in his heels, adamant that no repairs will be completed and that his father will pull the strings to pull him out of trouble.
As days turn into weeks, Louie’s hardened stance begins to soften. He encounters the building’s residents, learning about their daily struggles and the small, stubborn hopes that keep them going. Among these neighbors is a young hustler named Marlon Rubén Blades, who moves with grit and street wisdom, and a street-smart boy named Tito. Through conversations on cracked stairways and crowded courtyards, Louie starts to see the human cost of neglect and greed. A shift from self-interest to responsibility gradually takes root, and he starts looking for ways to make a real difference.
One of the first tangible acts of change is a practical gift to the tenants: space heaters that help them endure the brutal winter. It’s a small gesture, but it signals Louie’s commitment to addressing the tenants’ immediate needs rather than merely paying lip service to reform. He also begins to bridge the gap between his own ambitions and the community’s welfare, probing how much of the building actually belongs to the people who live there, not just the owner’s bottom line.
Yet the elder Big Lou remains a stubborn obstacle. He clings to control of the property and resists spending money on improvements, setting up a tense dynamic between father and son. The two men clash over priorities and principles, each defending a worldview that has driven their lives—one built on wealth and power, the other on a rough, but hopeful, sense of justice for those beneath the rent ledger.
A turning point arrives on the basketball court, where Louie and Marlon form a bond grounded in mutual respect and shared games of pickup. The sport becomes a microcosm of the larger struggle: teamwork, trust, and the belief that a community can pull together to rewrite a bleak script. When Big Lou makes a threatening move—literally ready to torch the tenement—an entire building rallies. The tenants converge on the roof, their voices rising in a united stand that supports Louie’s effort and pushes back against the tyranny of neglect.
In a culmination that blends urban renewal with communal solidarity, the building is finally refurbished in full. Marlon steps into a new role as the building’s superintendent, a triumph that marks a concrete change in the lives of everyone who calls the block home. To celebrate, the tenants present Louie with a symbolic gift: his Corvette, once stripped of its parts soon after his arrival, is now fully restored. Louie’s departure is met with a mix of gratitude and guarded pride as he drives away, while a curious, larger figure on the edge of the scene demands to know who stole his car. The tenants point toward the road Louie takes, signaling a new era for the block and its newest ally turned ally-turned-champion.
In the end, the story threads together themes of accountability, community resilience, and redemption. What began as a harsh sentence and a self-serving mission evolves into a shared project of restoration—of buildings, of lives, and of a neighborhood’s sense of dignity. The arc from greed to communal care is quiet but persistent, leaving viewers with a sense that real change comes when people choose to look beyond their own interests and invest in the people around them.

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