Theatrical Review: The Family

Giovanni Manzoni is a former Mafia boss who has snitched on the mob and now has a 20 million dollar price on his head. He and his family have been placed in a witness protection program that has had them move around the world a few times. Now, Giovanni, with the new name given to him of Fred Blake, his wife Maggie, daughter Belle and son Warren have been moved to Normandy, France. They try to fit in, but old habits die hard and even with protection from the CIA, they soon find themselves about to be tracked down by their former Mafia associates. Hijinks, of course, ensues…

This is the broad premise of The Family, a dark comedy from visionary French director Luc Besson and producer Martin Scorsese. When I first saw the trailer for this movie, I can’t necessarily say that I was thrilled by it as I was expecting it to be an overly broad comedy, but hearing that Besson was directing it made me take notice. Besson has previously directed movies like La Femme Nikita, Leon (know here as The Professional) and The Fifth Element, all big favorites of mine. Still, my expectations were somewhat low for the film, but I was pleasantly surprised by it’s end.

Besson has built his own little world here that uses the flavor of Scorsese’s GoodFellas as it’s source. Manzoni has done some horrible things for the mob, but still considers himself a good man, a good father and all he really wants to do is tell his true story. He starts to do that by writing his own memoirs, much to the dismay of his CIA handler. Besson tells this story with a very relaxed pace allowing us to get to know the Manzonis and how they exist in this little world that’s seems stuck in the heyday of the mob from the 70s. It’s not meant to be taken seriously, though at the same time it’s not an uproarious comedy by any means. This is presented in an almost episodic manner with each member of Manzoni’s family having their individual arcs and yet it’s all still tied to gather in such a way that I thought was satisfying. The pace of the film changes considerably during the final quarter of the film as the Manzonis are discovered by the mob and now have to use their own methods to get away again. I’ve seen some look at this as a film that’s trying to find an identity just because of some of the tonal shifts that happen when telling these stories, but for me, I looked at it all as world-building on Besson’s part and these shifts just seemed to make sense in this little microcosmos.

The biggest strength that the film has though is it’s cast and with high-powered names like Robert DeNiro, Michelle Pfeiffer and Tommy Lee Jones, you’d certainly expect some good work. Now I’ll tell you right up front, this isn’t the high-point of any of their careers, but it’s still sold work and their solid work helps add credibility to Besson’s world. When I was first seeing the trailers for this, I thought it was going to be another one of these comedies in which DeNiro does some overly broad mugging for the camera, but it’s not the case at all. Even with his violent past, DeNiro’s Manzoni is actually a measured character that genuinely feels like he’s trying to change his ways, though he has moments where he imagines what he would do to people if he was his old self. He and Pfeiffer have some really good chemistry together that’s well demonstrated in one very nice little romantic scene between the two. While Pfeiffer’s good to watch with her family, she actually has better scenes when she’s with two CIA agents who are constantly watching the family. Here she gets a chance to let her hair down a bit and not constantly be the rock for the family. Tommy Lee Jones plays Robert Stansfield, Manzoni’s handler and this is the type of thing that you’ve seen Jones do again and again, so he’s certainly solid in the part and excels when he has scenes with DeNiro. Now, I liked all of the leads quite a bit, but I was even more impressed by Dianna Agron (from Glee) and John D’Leo who play the Manzoni kids, Belle and Warren respectively. There’s a lot of strength and confidence to both of their performances and at least to me they both hold their own with DeNiro and Pfeiffer and further help build credibility for this as a family unit in this whacked-out little world.

I was really surprised at just how much I enjoyed The Family, though I suspect that I’ll be a bit of a minority when it comes to that. I think we had a total of maybe 8 people in out theatre to see this and midway through, two of them actually walked out. I do get that, they were might’ve been expecting this to be something that had far bigger laughs than what it did or just thought it meandered a little too much in building it’s world, I don’t know. For me though, I appreciated it’s mixture of both the low-key and the over-the-top, it’s salute by Luc Besson to American Gangster films (in particular Scorsese’s GoodFellas) and it’s rock-solid cast and certainly thought it was more than a good diversion.


Theatrical Review: Insidious: Chapter 2

In the movie Insidious, the Lambert family is terrorized by spirits in another dimension called The Further. Josh and Renai Lambert’s son, Dalton suffers an accident that puts him into a coma and turns him into a bizarre conduit with this world. Josh’s mother, brings in her old friend Elise, a medium, and her assistants, Specs and Tucker, to help the family find the answers that they need and in the process they also discover that Josh has the same gifts as his son. By the end, Josh has made his own journey into The Further to bring back his son, but with a great cost, as Elise is murdered by the spirits in the real world.

Insidious: Chapter 2 takes place almost immediately after the events of the first film. We start with a flashback to Josh’s childhood and soon discover that he had a greater connection to the Further than what was revealed in the first movie. A younger Elise hypnotizes Josh into forgetting about this chapter in his life, but due to the events of the first movie, Josh’s own connection has now opened back up. Back in the present day, Elise’s murder is being investigated by the authorities with Josh being seen as a prime suspect. The Lambert family vacates their home to go stay with Josh’s mother and soon Josh is cleared of being a suspect. With this greater connection now being opened up more, the family soon finds out that their terror is far from over.

That’s the base premise to Insidious: Chapter 2 and without a doubt, you will need to have seen the first movie in order to keep up with what’s going on with the second. Insidious: Chapter 2 comes to us from director James Wan and writer Leigh Whannell who are no strangers to the horror genre having given us both the first Insidious as well as the first of the Saw movies. This is Wan’s second horror movie for the year, with his first being The Conjuring, which at least to me, is also one of the best movies of the year. I had a pretty good time with Insidious: Chapter 2 though not in the same league as The Conjuring.

One of the criticisms that I saw with the first movie was the whole idea of The Further and if you had any sort of problems with that, then this sequel may not fly to far with you as it’s firmly centered around The Further for the whole movie. For me, this other dimension brings to mind Don Coscarelli’s classic Phantasm series and I very much like how this went further in-depth with the concept especially using it well to find out the origins of the spirit that possesses Josh, a mysterious serial killer called The Bride in Black. By it’s end, they’ve now set up this series so that the world of The Further takes the front seat for any future films and of course the possibility of another sequel certainly exists.

Insidious: Chapter 2 movies at a pretty brisk pace that I think works especially well by the film’s end as it’s jumping between both the real world and The Further. It’s scares are mostly of the jump variety that are punctuated by the film’s score (terrific work from composer Joseph Bishara who also worked with Wan on The Conjuring). Where the film really excels for me though is just in it’s presentation of these new spirits and the very over-the-top way in which they are presented. For some, this might seem a little too cartoonish, but I like the fact that Wan and Whannell went that far especially with a character who’s the mother of the spirit that possesses Josh Lambert (played by actress Danielle Bisutti). I think it goes a little too far with the humor provided by the characters of Specs (Leigh Whannell) and Tucker (Angus Sampson) with just a few of the jokes seeming a little out of place, but it’s not a dealbreaker by any means.

Patrick Wilson, Rose Byrne, Ty Simpkins, Lin Shaye, and Barbara Hershey all return from the first movie along with the above-mention Leigh Whannell and Angus Sampson and for the most part, it’s a good turn by the cast. I mentioned in my review of The Conjuring that Patrick Wilson is one of my favorite actors to watch at work these days and he doesn’t disappoint in the slightest here, especially after his character of Josh is possessed. Wilson really turns on the crazy at that point and for me anyway brought to mind Jack Nicholson’s work in The Shining. New to this cast is veteran character actor Steve Coulter who plays Carl, another associate of Elise’s and Tom Fitzpatrick who plays The Bride in Black. Good work from both actors, but big props to Fitzpatrick and just how far he was willing to go in his portrayal of The Bride.

Insidious: Chapter 2 was a lot of fun that for me was only slightly spoiled by a… let’s say “rambunctious” audience of kids who were happy to get into a horror movie that’s rated PG-13. It’s an absolute necessity to have seen the first film in order to appreciate what goes on here, but if you’re a die-hard fan of the first (and there’s many out there) then you’ll no doubt have a good time with Insidious: Chapter 2.