Movie Review ~ The Family

family

The Facts:

Synopsis: The Manzoni family, a notorious mafia clan, is relocated to Normandy, France under the witness protection program, where fitting in soon becomes challenging as their old habits die hard.

Stars: Robert De Niro, Michelle Pfeiffer, Tommy Lee Jones, Dianna Agron, John D’Leo, Domenick Lombardozzi

Director: Luc Besson

Rated: R

Running Length: 108 minutes

Trailer Review: Here

TMMM Score: (7/10)

Review:  I wasn’t quite sure what to expect going in to see The Family.  As a fan of Michelle Pfeiffer, I knew that my seeing this was an inevitable event but based on the trailer and seriously boring title I just didn’t know how the whole thing was going to turn out.  Would it be another in a long line of Robert De Niro films that seemed to get made only because he signed on the dotted line?  Or would it be the kind of daring European action film that director Luc Besson first rose to fame for?

Well, it turns out that the movie can’t ever really decide what genre it wants to fit into so it instead just lays down and rolls around several different themes all at the same time.  That may not work for most movie audiences and it’s not surprising that people are coming away from the film feeling a little empty, but I found the film to be an interesting potpourri of tones that worked more often than not – even if it’s more than a little odd.

Moving into a new European town after an incident necessitated their hasty retreat; a family in the witness protection program find themselves in the quaint/quiet town of Normandy in France.  Taking up residence in a money pit-esque dwelling, the Manzoni’s clearly are getting old hat at the process of moving from one town to another.  Dad (a more low-key than usual De Niro, Being Flynn, Silver Linings Playbook) just wants to settle in and write his memoirs, to the horror of the long-suffering FBI agent (Tommy Lee Jones, Lincoln, Hope Springs) assigned to their case.  Michelle Pfeiffer (Dark Shadows, People Like Us) is De Niro’s wife with anger issues of her own, eventually turning to the church for help, spilling her secrets in confession that leads to a moderately nice payoff.  The kids (Diana Agron and John D’Leo) are fashioned as doppelgangers of their parents and both give off a playful vibe, even as they find themselves in hot water at school.

As the family is getting acclimated to their new town, we also follow a creepy crime henchman (Jon Freda) that continues his hunt for De Niro and his brood after De Niro became a turncoat to his Mafia family.  It’s in these scenes that wind up leading to an out of left field tension filled finale that the film may confuse some people.  The passages with the family are given a light touch that belies the darker tone brought on by Freda’s intense chase.

For me, it worked.  I enjoyed that the film feels different than what it would have been were it produced in your typical Hollywood fashion.  That it was made in Europe by a European crew and director has given the film a golden hue and the chance to take risks with its twists and turns.  By the time the film reached its finale I wasn’t sure how it was all going to work out for everyone involved.

Sure, the film has several extraneous storylines that could have been trimmed to keep the running length to 90 or so minutes but the actors play these moments so well that it’s forgivable.  It may be harder to forgive one of the most laughably contrived cases of coincidence since, well, ever, but by that point the movie had won me over enough to just brush it off.  There’s also a wonderfully weird bit where De Niro is feted by a local film society who has asked him to come and speak to the finer points of the classic film…no…no…I won’t spoil that moment for you.

Returning after several years of being absent from the director’s chair, Luc Besson (Leon: The Professional and The Fifth Element) brings his trademark cinematic flair to The Family and navigates it’s up and down and crisscrossed tones with ease.  I’ve always enjoyed Besson’s creative way of cutting from one scene to the next and he keeps the pace going, even when his screenplay based on the novel Malavita doesn’t fully support itself.

The Family isn’t a movie that you’ll need to see in the theaters but would make for an interesting watch when it finds its way into the home viewing market.

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