Robert De Niro, Michelle Pfeiffer and Tommy Lee Jones revisit some blasts from their pasts in The Family, a violent action comedy about a mob family living in France thanks to the witness protection program.
De Niro does a little Analyze This as Giovanni Manzoni, who ratted out his mob pals back in Brooklyn and now has a $20 million price on his head. He is, he narrates, a nice guy who just has to control my sadistic urges better. Hes prone to beating people senseless or to death over things like poor service, disrespect and the like. And hes in France.
Pfeiffer tones down her Married to the Mob turn as Maggie, the long-suffering wife, moving to yet another town where these people The Blakes, theyre called this time need to fit in. But her encounters with rude French salesclerks bring out the practicing pyromaniac in her.
Their kids Belle (Dianna Agron) and Warren (John DLeo) have another high school to reconnoiter, master and have their way with.
Jones is a milder-mannered version of his U.S. marshal characters as a government agent who tries to keep these four alive, and keep the incidents with the locals to a minimum.
As the Blakes set up shop in small-town Normandy, Gio, or Fred, decides hell write his memoirs. His cover story now is that hes a writer. Silly Fred he says hes doing a D-Day book when he doesnt know a thing about the subject.
Gio narrates as he types up his book, detailing his family history, papering over his sadistic impulses even as he sets out to find out why their old house has brown water coming out of the tap.
Everybody speaks English, which helps the kids and their fuggedaboutit parents adjust. Except they dont. The movie also lacks much in the way of Frenchness, which is a pity.
And even though the cast is first-rate, The Family tends to lurch between laughs, with the most reliable humor coming from the Blakes over-the-top violence as a way of solving every problem.
De Niro is the funniest hes been since the Analyze series, and one scene hes invited to be a guest speaker at a film society manages huge laughs based on his past filmography.
Director Luc Besson established his action cred decades ago with La Femme Nikita and The Professional, and he wrote and produced the Transporter and Taken movies. But nobody ever accused Monsieur Luc of having any flair for comedy. The backhanded slaps at French snootiness, softness and overrated cuisine, and his idea of this sort of mob folk adept at violence and quick to use it arent particularly funny.
Whatever the source material (Tonino Benacquistas novel Malavita), this feels inspired by Netflixs Lilyhammer, about a mobster hiding out in Norway. Besson & Co. should have learned from that series that the fish out of water/culture clash stuff is where the fun comes from. The violence is rare, for shock value.
Here, the mayhem is personal, plentiful and graphic enough to make you wince. Just a bit. The beat-downs are funny enough in their excess, but nobody in this film gets what he deserves. And none of the bystanders in the films quite-high body count earn their fate.
Besson aims his movie at anyone whos ever held a grudge at an ill-mannered French waiter or clerk (haughty, and by the way, they would never condescend to speak to you in English). If you like your wish-fulfillment payback served with a baseball bat, The Family is the French travelogue for you.