Family Business

Jessie McMullen (Sean Connery) is a professional thief. His son, Vito (Dustin Hoffman), is a reformed thief who got involved in some theft apart from Jesse when he was a very young man, did time, and has been doing very well in the meat packing business though it is an occupation he hates. He has sworn that his son would get the chance to do what he loves, and so Adam (Matthew Broderick) is on the threshold of getting a master's degree in biology and seems to have a bright future ahead. It seems to be something he is passionate about.

But then Adam just drops out because the future looks all too safe and instead decides he wants the excitement of a burglary that has the potential for a big payout. Adam offers to let both Jessie and Vito in on the deal. Jessie accepts. Vido says no initially, but then decides to go along mainly to protect his son, Adam, because he knows he is completely green about such things. Complications ensue.

I think I understood Jessie and Vito, as to where their characters are coming from. Jessie is a hard guy straight out of The Asphalt Jungle who thinks "crime is just a left handed form of human endeavor" to quote said Asphalt Jungle. Vito just wants a better life for his son than he had. But Adam is a whiny selfish brat who does not appreciate what his father is trying to do for him at all. And he never has an epiphany at any point.

There is an odd situation that the film puts forth - Jessie and his girlfriend as well as Adam and his girlfriend are eating dinner at Vito's house. The girl Adam is dating, played by Victoria Jackson, reveals a way she has of cleaning up on real estate. She has a connection at Sloan Kettering who tells her who the really sick patients are so she can be the first to bid on their apartments since they usually die or are too ill to continue living in their homes. This disgusts Jessie, who has some kind of sideways morality that seems to include that it is not nice to steal from sick people or people who are down, but if they are doing fine stealing from them is AOK. If this is supposed to make me admire Jessie, it really doesn't do it for me.

And that is what this film lacks - somebody - anybody - to root for. You'd never guess going in that a film with Lumet directing and Connery, Hoffman, and Broderick acting would land with such a thud, but you'd guess wrong.

What does it do right? It has some great scenes of working class New York City as it existed around 1990. From the 80s forward, to watch most American films, you'd think everybody in New York City lived in a professionally decorated tony brownstone.

When I see this film reviewed, over and over, as a comedy, I don't know whether to laugh or to cry. This is one of the most brutally cynical, agonizingly tragic films I've ever seen - the story of a family caught up in the romance of crime, trying to help at least the youngest generation escape its inevitable fate.

Perhaps it helps to know Sidney Lumet's other work, especially his previous bitterly brilliant collaborations with Sean Connery: The Hill, and The Offense. Family Business is a similarly scathing attack on preconceptions. Lumet takes what looks like a tame little 'heist comedy' scenario and shows just how poisonously evil it really is. He gives us the charming scoundrel (Connery), and shows how destructive his devil-may-care attitude can be.

One might as well criticize Othello or Macbeth for having no laughs. This film is, in fact, Shakespearian in its tragic dimensions. Connery starts out with the classic Tragic Flaw, and must pay for it in the end. (There is a heroic dimension in his ultimate realization, at least.)

I can easily understand that many people won't enjoy this film. It's a nasty, venomous, painful piece of work. But it's also quite brilliant. If you want easy answers, by all means, rent Ocean's Eleven. But if you're up for a challenge, don't overlook Family Business.

Good acting. I was quite surprised with the end result. Three blockbusters with an excellent supporting cast.

Seeing that this was Connery and Hoffman, billed together with Broderick, I was expecting a real thriller. Ouch! Sitting way out in the audience, even I had to think. This film is a brain-teaser from start to finish, and gently plucks at the emotions. When you rent it, or go to see it, pay attention.

A criminal family, torn between right and wrong? How could this be?

Cute, innocent Victoria Jackson, as Christine, plays Matthew Broderick's, Adam's, fiancée, and is revealed to be someone even lower than this three-generation family of thieves.

Fascinating, ironic, clever, well done . . .

Sean Connery, Dustin Hoffman, and Matthew Broderick play grandfather, father, and son respectively in a heist movie that is less about the heist and more about the family that pulls it. Matthew Broderick is the good son, smart, squeaky clean, and destined for the good life beyond the criminal past of his father and grandfather, except he wants nothing to do with that life and instead dreams of being a thief. To help him on his way is the original thief of the family (Sean Connery), much to the dismay of Broderick's father (Dustin Hoffman) who is eventually pressured into helping with the heist against his better judgment.

Much of the film is spent exploring the familial relationship of the three men. The grandfather is an unrepentant thief who thinks his son is a quitter. The father is angry at the grandfather for never giving him the opportunity to be anything other than a criminal. The son is angry at the father for not giving him the opportunity to be a thief like his father and grandfather before him. The actors are talented and the premise is good but the movie lacks a certain intangible aspect that prevents it from being anything other than mediocre. The movie is just too......ordinary, for lack of a better word. There is no real flair for the dramatic, no golden comedy moments to remember, just a story idea that is dragged forward by the strength of the cast, and little else.

Connery, Hoffman, Broderick, oh my! OK, it should have been an Oscar contender, but it wasn't. Vince Patrick's work will never rival Tolstoy, but it isn't intended to. This is classic Connery chewing scenery with acid tongue dialogue and more than a few memorable moments. Hardly a talent waster, lets call it an under achiever, just like the main characters here.