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Non-Review Review: The Family

I can’t tell you what The Family is. Not because of omerta or anything as cliché as that, but because it seems like The Family itself doesn’t know. I can describe what happens in the film, taking you through the events as they unfold on screen. I can describe the set-up. I can talk about its obvious influences. But I can’t tell you what exactly Luc Besson’s latest film actually is, because it seems like Besson himself can’t make up his mind.

Is it an action film with a quirky and unconventional set-up? Is it a gangster comedy about a former crook trying to go straight? Is it a fish-out-of-water comedy of manners about Americans arriving in northern France? Is it a pitch black comedy about a self-justifying sociopath attempting to carve out his own place in the world? Is it a high-stakes thriller about a family putting their lives on the line? Is it a weird coming-of-age drama? The Family is all of these things at various points, but it never commits to any of them.

Instead, it uses these elements to just keep circling until the running time is over.

Family values...

Family values…

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Non-Review Review: Leon (The Professional)

What makes Leon so fascinating is the combination a wonderfully disturbing script that puts a novel and unsettling twist on that “suddenly a father” subgenre, Besson’s understated direction, Eric Serra’s atmospheric score and a trio of fantastic central performances. The movie is never less than completely engaging, especially when it’s being very deeply uncomfortable. The movie is very much a “messed up”portrait of the survivor of a family massacre and her unconventional surrogate father figure, with the difficulties that both have adapting to their situation, although it’s probably Gary Oldman’s powerhouse villainous performance that you’re going to leave the film thinking about.

Leon is a bit daunted by the scope of fatherly responsibility...

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