Antes que o Diabo Saiba que Você Está Morto

Great cast. Sidney Lumet truly did an astounding job with this film. Lumet shared with us one of his best films and it is a shame he and Philip Seymour Hoffman, who died just last year, are no longer here to share anymore profound masterpieces.

I saw this a few years back and what I can say is it was an amazing film. The acting was well constructed as it would be expected of Ethan Hawke and Philip Seymour Hoffman. But not one in the film captivated the debilitating affects of tension and concern as well as Hoffman himself.

The film had its share of humor and the supporting roles were brilliant and authentic.

It seemed as though as the film had progressed, the intense suspense in the film as well as the sharp acting seemed to just envelop you even more. The entire atmosphere just impacts the audience deeply and leaves a thrill of excitement that is still felt after the film.

A film close to perfection and one I will see again any time.

Sydney Lumet hasn't had a box office hit in 20 years and yet at 83 has managed to churn out a tight, well-cast, suspenseful thriller set in his old stamping ground, New York City. (How he got insurance, let alone the budget after all those flops, is a mystery also). The story is a pretty grim one and the characters are not particularly likable but it held me on the edge of my seat till the final scene.

Two brothers with pressing financial problems conspire to rob a suburban jewelry store owned by their elderly parents. The only victim is going to be the insurance company. The robbery goes awry and two people die. Most of the film is concerned with the aftermath. The action is non-linear and seen from the main character's differing points of view, but it is not difficult to follow. What is not so easy to work out is the back story – how did the brothers get into such a mess? There are clues – the younger brother being the baby of the family is his fathers' favorite while the older brother seems to be carrying a lot of baggage about his relationship with his father, and vice versa, but that hardly accounts for him becoming a heroin-using murdering embezzler.

As the scheming older brother, a corpulent Philip Seymour Hoffman dominates the film, but he is well supported by Ethan Hawke as his bullied, inadequate younger brother. Albert Finney as their father seems to be in a constant state of rage but then the script calls for that. Marisa Tomei as the older brother's cheating wife at the age of 42 puts in the sexiest performance I've seen in many a year. The film literally starts with a bang, but we are out of that comfort zone pretty quickly.

I don't know the origins of this story by first time scriptwriter Kelly Masterton but I suspect that like Lumet's great 70's film "Dog Day Afternoon" it is based on fact – it's too silly to be untrue. Lumet is just about the last of those immensely versatile old-time craftsman studio directors who with immense speed were able to direct just about anything that was put in front of them. Some great films were produced that way as well as some classic turkeys. This isn't a classic of either sort – it's a well-crafted piece of downbeat entertainment. It will probably leave you feeling that you were lucky not be a member of a family as dysfunctional as this one, but still wondering as to how they got that way. We do know the parents were happy but we see so little of the mother and hear so little about her it is impossible pick up on her relationship with the boys. (There is also a daughter whose presence seems redundant). Well, like Tolstoy, we have to conclude that "each unhappy family is unhappy in its own way".

BEFORE THE DEVIL KNOWS YOU'RE DEAD starts off promisingly, setting up a simple heist that goes awry, told from varying perspectives (in RASHOMON style). At around the hour mark, Sidney Lumet transforms this film into something that is so much more than the sum of its parts; it eventually morphs into a multi-faceted family drama, exploring the full realm of human emotions/relations, as the story comes to its chilling climax.

As is the case with Lumet, he manages to coax exceptional performances out of his star-studded cast, without any notion of over-acting or hyperbole. Philip Seymour Hoffman, in one of his best roles, is a complex, mysterious, and interesting character, and oftentimes dwarfs Ethan Hawke, who plays his brother, Hank. That's not to say that Hawke is not bad; in fact he is quite above adequate, in a troubled role that suits his style. Marisa Tomei is excellent for her relatively short appearance (the fact that she bares her flesh adds to this). Albert Finney's character (Andy and Hank's father) is the most intriguing, and in my opinion, he deserved a bit more screen-time. Amy Ryan also performs her job adequately.

BEFORE THE DEVIL KNOWS YOU'RE DEAD is not an exceptional movie, but it proves that Lumet is still near the top of his game at the (apparent) twilight of an illustrious career. Many of his characteristics and trademarks appear here, not least of which involves the use of his characters. Infused with a killer script (no pun intended), smart dialogue and pacing, and a decent score, BEFORE THE DEVIL KNOWS YOU'RE DEAD is a must-see. A truly underrated gem. 8/10. 3 stars (out of 4). Should just enter my Top 250 at 248. Highly recommended.

I'm writing this review after my second viewing of 'Before the Devil Knows You're Dead.' I watched it on DVD when it first came out and, to be honest, it didn't leave that much of a lasting impression on me. If you asked me to describe it, I'd probably say something like, 'Oh, it was about a heist... or something.' To be fair, that is part of the film. I don't know what I started thinking about it years later, but I decided to give it another go. And I'm glad I did. Yes, it's about a heist. Although, the main ingredient in this film is about moral dilemmas. Two brothers (Phillip Seymour Hoffman and Ethan Hawke), both with financial problems, decide to rob their parents' jewellery store as a way of making a fast buck (while not admitting that they're heavily in debt – and why).

Naturally, things don't go their way and both of them find themselves stuck in an ever deceasing spiral as more and more things get out of control. I won't go into the actual plot in too much detail, as anything I say will probably spoilt the film of you. However, what is nice is that you can see things from their points of view. Both men have problems. Yes, there may be easier (legal?!) ways of getting cash, but both have already gone too far to be able to turn around and utilise legitimate money-making means. Then, when things start to go wrong, everything happens logically. You'll feel for the two men (even if you don't always like them). Albert Finney is on the cast list and he does a good job, too. Although his part is decidedly smaller than his two on-screen sons, but what he does he does well.

'Before the Devil Knows You're Dead' is a slow film. Maybe when I watched it before I was expecting some sort of 'action-orientated' gangster film where people are shooting each other and delivering a witty quip here and there. It's nothing like that. If you're looking for that sort of experience, look somewhere else. This film is quieter, subtle and sadder in tone. It's also nearly two hours long, but, despite being slow, that's not a bad thing.

If you're in the mood for 'thoughtful' over 'thrilling' give this one a go. I'm definitely going to watch it again – probably in a few years, but definitely.

Says Andy: "Nobody gets hurt, everybody wins." Before he says it, we know the opposite is true: Everybody gets hurt, nobody wins. This is a new strand in American movies, or perhaps an old strand brought back at long last. Think "Eastern Promises", "There Will Be Blood", "No Country for Old Men". These movies are dark, serious, extremely well made, and don't care about happy endings. I love them. "Before the Devil Knows You're Dead" fits the general description, but creates an atmosphere all its own. Kelly Masterson's debut script is as close as a Hollywood movie will ever get to a Greek tragedy. Paying tribute to fellow veteran director Stanley Donen, Sidney Lumet expertly and soberly turns the sombre story into an outstanding, old school character drama. The opening shots, although of an obese accountant doggy-styling his trophy wife, have the look and feel of a Dutch master's painting. By contrast, the drug dealer's condo looks more like a string of Mondrians. Great performances all around. Only Albert Finney's character Charles feels a little over-acted, eyes wide and mouth agape almost all the time. But then he is in trouble deep, deeper than any of the troubles most of us will ever know. For compensation, Marisa Tomei is super hot. But of course you don't need me to tell you that. Why her character Gina would want to be with a guy like Andy, we're never told, but that's okay. Action is character, after all. The unique and magic touch of Carter Burwell's music makes this fine movie a masterpiece. Don't miss it.