ByJonathan J Moya, writer at
Movie loving owner of a fashion boutique.
Jonathan J Moya

In Luc Beson's The Family about a MAFIA Don and his family under witness protection in Normandy France, La Famille becomes a mob unto themselves. (The French used in this review was translated via Google Translate and is basic, but run it through the website if you get stuck on any phrase.)

The son (John D'Leo of Wanderlust) takes over the cigarette cartel in school and slowly works his way up the food chain of école intimidateurs. The daughter (Dianna Argon from Glee) can swing a mean racket in defending her virginity from die délinquants juvéniles trop amoureuses and can easily blackmail her professeur de mathématiques into lui faire l'amour pour la première fois. The mother (Michelle Pfieffer) is a caché cuisinier écrou de santé who can turn vengeresse bombardier at the slightest rude remark. The father (Robert DeNiro) is the father and you don't mess with the Don, cheat him, or disrespect unless vous voulez que vos jambes cassées dans les lieux tenb.

Beson and DeNiro are friends that go way back, and like Steven Soderbergh and the Ocean 11 Series, The Family is an excuse to take an all expense paid vacation in the South of France at the studio's expense. If the results are any good, that's a plus.

De Niro can do mobster and comedy in his sleep. Beson can do style and action with out prep. Tommy Lee Jones is very good at doing his Tommy Lee Jones federal agent thing. Michelle Pfieffer has done mother, femme fatale and the required New York whatever accent for half her film career. And the young ones, D'Leo and Argon, get to do a good imitation of their onscreen parents.

So nothing is hard and everything is easy. The script is loose and the direction is even looser, everyone gets to do what they want and it all cuts together. Save the artsy stuff for the next film.

The Family gets a 'B' from me.

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