A mafia boss and his family are relocated to a sleepy town in France under the witness protection program after snitching on the mob. Despite the best efforts of FBI Agent Stansfield (Tommy Lee Jones) to keep them in line, Fred Manzoni (Robert De Niro), his wife Maggie (Michelle Pfeiffer) and their children Belle (Dianna Agron) and Warren (John D'Leo) can't help but revert to old habits and blow their cover by handling their problems the "family" way, enabling their former mafia cronies to track them down. Chaos ensues as old scores are settled in the unlikeliest of settings.Written by
The first Luc Besson film to be shot with anamorphic lenses since Léon: The Professional (1994). All of his later films had been shot with spherical lenses in Super 35, but he decided to go back to anamorphic for this film, and surprised Cinematographer Thierry Arbogast when he told him so. See more »
When the Robert DE Niro character attends the film society's showing of 'Goodfellas', there's only a single 35mm projector. Since the maximum Reel time would be about 20 minutes, it would mean seven Reel changes which would make the movie very frustrating to watch. See more »
[while driving in car and listening to phone]
Jesus, the police switchboard is down!
What's goin' on?
I don't know, but if I find out if you had anything even remotely to do with this, you're gonna go away for a hell of a long time.
Calm down. I was with you all night.
That's the problem. Your alibi is too good.
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At the beginning, the words "father", "mother", "son" and "daughter" are shown and intersected. Some of the letters vanish, and the remaining ones spell the film's title. See more »
"Like Al Capone said, asking polite with a gun in your hand is better than asking polite with nothing." Giovanni
Family values in The Family are not your father's values unless, like me, your grandfather ran a numbers business in the basement of his barbershop. All of Kodak Park enjoyed that true color.
The Giovanni Manzoni/Fred Blake (Robert De Niro) family has a paterfamilias who is a notorious Mafia don in the FBI witness protection plan. (De Niro as a mobster is the fall's most unimaginative casting but he's funny.) His values are ratting on his fellow Mafiosi to save his legal hide, forcing him to hide with a $20 million reward dogging him. The family's love for each other is unconditional and treats challenges with a baseball bat rather than diplomacy. If a Frenchman disrespects Americans, he might find his supermarket in flames.
If this sounds like a story to turn the nuns' heads completely around, don't worry; it's ultra "black comedy," equal parts Italian-American gangster satire and laughable domestic shenanigans. That midway in the film Fred gets to speak on the merits of GoodFellas before a French crowd in Normandy is one of the nice meta-critical-comedic turns followed by carnage we've come to expect from Mob films. It's pretty much territory owned by Scorsese and De Niro. Additionally, the use of the "f" word has never been so deftly played in a comedy.
Besides the joy of seeing De Niro have a good time with the many tough characters he has played in his career, you get to see Tommy Lee Jones play a gruff FBI agent, Robert Stansfield, who can trade barbs with his charge, Fred, who has such a propensity for violence (he beats up the only plumber within 20 miles of town) that Fred is a full time job for Robert. If Jones's face can't scare Fred into being a good boy, then the threat of losing witness protection does the trick.
Directed with wicked tongue in cheek by La Femme Nikita's stylish Luc Besson, The Family sports an accomplished supporting cast: Michelle Pfeiffer as mom Maggie is gritty Brooklyn with her famous beauty well preserved. The two kids played by Diana Argon and John D'Leo are spot on sweetly dangerous as you might expect.
It's all in GoodFellas fun, a mildly amusing and unusual story that beats many mainstream comedies this year.
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