3/10
The Manzoni Family fits into their European surroundings
better than the Griswold Family did back in the ‘80s, but they are still on the
same in of the horrible American spectrum.
They may live in Normandy but lucky for them, almost all encounters are
automatically conducted in English, even in the local French school. Also, if something does not go their way
either in the grocery store or with the local plumber, they may always employ
over-the-top violence, frequently with explosives, to fix the problem.
Former mafia boss Giovanni Manzoni, now known as Fred Blake
(Robert De Niro), snitched on all of his comrades and fled into the arms of the
witness protection program with his family.
They hit the protection jackpot because instead of settling somewhere
like North Dakota or New Mexico, they have been to Paris, the French Riviera,
and now a small village in Normandy. Of
course, the Blakes endure this as the worst punishment in the world; what kind
of alleged comedy would this be if they calmly acclimated to their surroundings?
Wife Maggie (Michelle Pfeiffer) wanders the town for
groceries, makes friends with the local priest, and buddies up to the FBI
agents across the street who run constant surveillance on the family. Daughter Belle (Dianna Agron) is 17 and
experiences some sort of sexual awakening when she encounters the local math
tutor while 14-year-old Warren (John D’Leo) immediately breaks into the local
black market and sets himself up as the high school’s Don Corleone.
The Family is a ridiculous farce. Robert De Niro’s mafia don persona in the
witness protection program is supposed to be amusing but he comes off way more
violent than perhaps he was meant to be.
The movie even tries for ‘funny’ violence like dragging a guy behind a
car to get him to talk or killing the local butcher because he tried to cheat
you with some lobsters. Seriously,
Robert De Niro kills a guy for selling him some rotten lobsters. Michelle Pfeiffer, using a horrible
Italian/Brooklyn accent at times, blows up a small grocery store because some
French folk mock her.
The gruesome violence the Manzonis/Blakes inflict upon the
local French villagers is almost cartoonish – as is the body count. So many folk go missing or end up in the
hospital with life threatening injuries it is hard to believe the gendarmes
don’t show up with a tank and a bulldozer to drive these crazy Americans out of
town. Fred tells his neighbors he is a
writer, finds an old typewriter, and starts to scribble his memoirs. This is the trick to let us know some of his
backstory as he narrates it to us as the screen fades to flashback. He explains how nice of a gangster he was but
almost of all of his examples involves shooting someone, beating them with a
baseball bat, or even dipping them headfirst into a barrel of acid.
It would be easy to say this is not up to writer/director
Luc Besson’s usual standard (The Fifth Element, Leon:
The Professional); however, the style of The Family is now his new
low expectation (From Paris with Love, Lockout, Taken 2). Jack Black said it best in High
Fidelity, “Is it far to judge a formerly great artist for his latter
day sins; is it better to burn out than to fade away?” The Family is another slide downhill
for Besson. The film is allegedly a comedy,
but it is starkly unfunny. This family
comes off as just a bunch of thugs. Each
person finds their respective outlet, be it in writing, religion, love, or the
black market, but it does not change the fact that it wouldn’t be so awful if
the mafia goons still chasing them finally tracked them down and saved what is
left of the rural French population.
Directed by: Luc Besson
Written by: Luc Besson, Michael Caleo, Tonino Benacquista
Starring: Robert De Niro, Michelle Pfeiffer, Dianna Agron, John D'Leo, Tommy Lee Jones, Jimmy Palumbo, Vincent Pastore
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