Luc Besson’s The Family (2013) attempts to merge dark comedy with thriller elements, featuring the formidable Robert De Niro as a former Mafia member turned government witness. Relocating his family under witness protection after betraying his associates, De Niro’s character, Fred Blake, aims for a fresh start in a quiet French town. However, his past and his family’s ingrained habits are hard to shed, leading to a series of escalating conflicts. While the premise holds potential, and boasts a cast including Michelle Pfeiffer and Tommy Lee Jones, the film ultimately falters, delivering a disjointed experience that fails to capitalize on its talent.
The film’s primary weakness lies in its comedic execution. The humor, intended to derive from the clash between the Blakes’ violent past and their attempts at suburban normalcy, largely misses the mark. Instead of witty scenarios, we are presented with tired tropes, such as Fred’s overblown reaction to mundane inconveniences like cloudy tap water. These moments, designed to be humorous, come across as forced and unfunny, failing to elicit genuine laughter. The screenplay struggles to find comedic footing, leaving the audience wanting more substance and fewer predictable gags.
Furthermore, the development of the supporting characters and their subplots feels equally underdeveloped. Michelle Pfeiffer as Maggie Blake, the matriarch, Dianna Agron as Belle Blake, the daughter, and John D’Leo as Warren Blake, the son, are given storylines that lack depth and fail to engage. Belle’s subplot involving a relationship with her teacher is particularly weak and adds little to the overall narrative. Even the dynamic between De Niro and Tommy Lee Jones, who plays his FBI handler, falls flat. Despite the actors’ combined star power, their scenes together lack spark and fail to generate any compelling tension or chemistry, resulting in surprisingly tedious interactions.
Performance-wise, the cast delivers adequately, but the script limits their potential. Robert De Niro, known for his comedic timing and range, is underutilized. His character is prevented from truly showcasing the comedic mastery he is capable of, trapped within a narrative that doesn’t serve his strengths. However, Dianna Agron as Belle Blake manages to stand out. Her portrayal of the daughter is arguably the most compelling aspect of the film, injecting a degree of energy and screen presence that is often lacking elsewhere.
Ironically, The Family only finds its footing when it abandons its comedic pretenses and embraces its thriller elements in the final act. The shift towards violence and suspense is directed with a noticeable increase in style and energy. These sequences, in stark contrast to the preceding comedic attempts, offer a glimpse of what the film could have been. Had this level of direction and intensity been applied throughout, The Family might have been a far more successful and engaging movie.
In conclusion, The Family starring Robert De Niro, despite its talented cast and intriguing premise, is ultimately a misfire. The uneven tonal mix, oscillating between unfunny comedy and a late-stage thriller, results in a messy and unsatisfying cinematic experience. The film struggles to decide what it wants to be, leaving the audience with a sense of wasted potential and disappointment.
