Before the Devil Knows You're Dead Reviews

• A Family Implosion

  
  By A328S9RN3U5M68 on 2008-04-20
  The full title of this film is 'May you be in heaven a half hour before the devil knows you're dead', a rewording of the old Irish toast 'May you have food and raiment, a soft pillow for your head; may you be 40 years in heaven, before the devil knows you're dead.' First time screenwriter Kelly Masterson (with some modifications by director Sidney Lumet) has concocted a melodrama that explores just how fragmented a family can become when external forces drive the members to unthinkable extremes. In this film the viewer is allowed to witness the gradual but nearly complete implosion of a family by a much used but, here, very sensible manipulation of the flashback/flash forward technique of storytelling. By repeatedly offering the differing vantages of each of the characters about the central incidents that drive this rather harrowing tale, we see all the motivations of the players in this case of a robbery gone very wrong.
  
  Andy Hanson (Philip Seymour Hoffman) is a wealthy executive, married to an emotionally needy Gina (Marisa Tomei), and addicted to an expensive drug habit. His life is beginning to crumble and he needs money. Andy's ne're-do-well younger brother Hank (Ethan Hawke) is a life in ruins - he is divorced from his shrewish wife Martha (Amy Ryan), is behind in alimony and child support, and has borrowed all he can from his friends, and he needs money. Andy proposes a low-key robbery of a small mall mom-and-pop jewelry store that promises safe, quick cash for both. The glitch is that the jewelry story belongs to the men's parents - Charles (Albert Finney) and Nanette (Rosemary Harris). Andy advances Hank some cash and wrangles an agreement that Hank will do the actual robbery, but though Hank agrees to the 'fail-safe' plan, he hires a friend to take on the actual job while Hank plans to be the driver of the getaway car. The robbery is horribly botched when Nanette, filing in for the regular clerk, shoots the robber and is herself shot in the mess. The disaster unveils many secrets about the fragile relationships of the family and when Nanette dies, Charles and Andy and Hank (and their respective partners) are driven to disastrous ends with surprises at every turn.
  
  Each of the actors in this strong but emotionally acrid film gives superb performances, and while we have come to expect that from Hoffman, Hawke, Tomei, Finney, Ryan, and Harris, it is the wise hand of direction from Sidney Lumet that make this film so unforgettably powerful. It is not an easy film to watch, but it is a film that allows some bravura performances that demand our respect, a film that reminds us how fragile many families can be. Grady Harp, April 08
  
  

• Lumet Creates Another Masterful Film

  
  By A3M2WW0PO34B94 on 2008-01-09
  Sidney Lumet is a master filmmaker. I don't think anyone could dispute that. Even with his occasional missteps ("Find Me Guilty!" starring Vin Diesel) he has created more memorable films than many younger filmmakers could ever hope to include on a resume.
  
  The director returns to form with "Before the Devil Knows You're Dead", an independently made film featuring exceptional performances from Philip Seymour Hoffman, Ethan Hawke, Albert Finney and even Marisa Tomei. This powerful film had me riveted to my seat, unable to tear my eyes away from the screen for even a moment.
  
  Andy (Philip Seymour Hoffman) meets his brother, Hank (Ethan Hawke) at a local bar. Andy and Hank work in the same real estate office and share a lot as brothers, including their personal and financial problems. Because of this, Andy knows Hank has a lot of financial problems; a divorcee, the younger brother struggles to meet the alimony and child support and lives in a dump, sleeping on a sofa bed. But Andy has problems of his own; he tries to give his wife (Marisa Tomei) the finer things in life, things he can't afford, he has fallen into quite a bit of debt as well. He has the perfect plan. There is a small jewelry store in a strip mall in the suburbs. They are both intimately familiar with the store and everything they steal would be insured. It would be a victimless crime. Hank soon realizes Andy is talking about the store their parents (Albert Finney and Rosemary Harris) own. He doesn't want to do it. But the financial pressures force him to reconsider and he enlists the aid of a shady friend, Bobby (Brian F. O'Byrne) to help him rob the store. When they arrive, Hank gets a queasy stomach as they watch Hank's dad (Finney) drive up and drop off his mom (Harris); Hank almost decides against it, his mom wasn't supposed to be there. But Bobby is going through with it anyway and decides to go in alone. Then everything goes wrong.
  
  Directed by Sidney Lumet and written by Kelly Masterson, "Devil" is a film concentrating on the story and the performances with little in the way of flash or flourish to stand in the way of the characters and plot. The one concession to modern filmmaking comes when Lumet wants to shift the focus of the story. When the film begins, we watch the three days before the store robbery from Hank's point of view. When the story reaches a pivotal point, we shift to four days before the store robbery, but this time, from Andy's point of view. So we see many of the same things twice, but with different events leading up to the same conversations or meetings. In one story, we might watch a character listen to his phone ring and when he finally decides to pick it up, there is no one on the line. Later, we see the other brother making that call, and why. As the story continues, we soon start to watch Charles' (Finney) point of view. It is an interesting method to show us all of the different thought processes and the consequences of various actions, not just on one character but on everyone involved in the story. Sure, this is the type of device made famous by Tarantino, but it is not really copies here so much as it is given new life.
  
  The key to this film's success if that we believe everything we see. Two brothers decide to rob their parent's business. Even if they believe it will be a victimless crime, what sort of thought process leads to this moment? As "Devil" begins, we see evidence of the financial cesspool each of the brothers is in, and they are in deep, each for different reasons and in different ways. But we believe Hank and Andy can barely breathe due to the anxiety surrounding their every moment. It makes sense each would welcome any opportunity to keep their heads above water. So when Andy suggests the plan, we can see why he would sink to such a level. Lumet convinces us of their need to get money. During the film, we see evidence of the other influences and problems in their lives. We have to believe there is more than just a financial strain, there has to be a missing mental connection.
  
  Naturally, with an actor the caliber of Hoffman, he shows this in spades. As the story progresses, he reveals the many layers of Andy's character. All of the bad decisions he has made and continues to make and he has made many. It is a wonder Andy is able to fool anyone, but he succeeds. On all levels, at first glance, Andy appears to be a completely normal person, and everyone is fooled. But the botched robbery proves to be the unraveling point and he desperately tries to keep everything going, to maintain his image, hoping, looking for an escape.
  
  Hoffman does an outstanding job making Andy come alive. He has to make Andy's attempts to appear normal and respectable believable, yet reveal little bits of this to us as he does so. Then, as everything begins to unravel, he shows us how hard Andy continues to try to make everything work. And below all of this, a seething rage threatens to break out, yet another facet of his character he has to control, yet subtly reveal to us.
  
  Ethan Hawke plays Hank, the younger brother and the more established screw-up. He seems to have never made a good decision in his life, and these mistakes have continued to compound throughout the years, causing him more and more problems. As Hank's problems continue to grow, his brother is aware of the trouble he is in and comes up with the plan for both of them to gain some independence.
  
  But Hank is the type of guy who always has cold feet and finds problems with everything. Even after he agrees to go ahead with the plan to rob their parents' jewelry store, he starts to change his mind and Bobby has to go ahead and commit the robbery without him, leaving him alone in the car outside. Hank can't even complete this action, something so reprehensible no son should even contemplate in the first place, but since he has decided to go ahead with the scheme, you would expect him to be able to follow through.
  
  Throughout the film, we see illustration after illustration of Hank's inability to cope with anything and everything. It is amazing he is even able to function at the level he does. So when he leaves the operation in Bobby's hands, it doesn't really come as a surprise. And the consequences of these actions, which are very bad, also make sense, given what we know about Hawke's character.
  
  Hawke does a great job of making Hank desperate in his attempts to control the universe around him. He is late with alimony and child support so decides to lash out against his ex-wife when she continues to nag him for the money. As soon as his daughter enters the picture, he turns on the charm and sweetness. As soon as she is gone, he hurls a lame rebuttal at his ex-wife. There, he showed her. It is as convincingly lame as it sounds and adds a lot to his portrayal of this loser. He has no power or control over his life and tries to prove it every minute.
  
  When I first saw the trailer for "Devil", it ends by noting the Academy Award Hoffman won, the nomination Hawke earned, the Academy Award Tomei won and the nomination Finney has earned, in that order. What is wrong with this picture? Marisa Tomei has won an Academy Award and Albert Finney hasn't? Tomei has contributed some interesting performances to a number of interesting independent films since her Academy Award win for Best Supporting Actress in "My Cousin Vinny", but she hasn't done anything Oscar worthy. Ever. Unfortunately, this is not an isolated example of Oscar mistakes.
  
  In "Devil", she plays Gina, Andy's (Hoffman) wife. As the film opens, she and Andy are in Brazil, enjoying a vacation. "What if we could stay here forever?" Andy asks. Gina doesn't take him seriously, but she should because he is about to set into motion the plan at the center of the story. As the situation spirals out of control, she plays the supportive spouse, trying to help the family through this crisis. But she also plays an unknowing role in the plan.
  
  It is a good performance from Tomei. As Gina begins to realize the problems her husband is facing, she tries to get him to talk but he only says "I'll take care of it" or grunts in response. She is used to this and makes no effort to hide the problems she and her husband are having, engaging in questionable activities of her own. But even she comes to a point where she can't handle it anymore.
  
  Albert Finney plays Charles, the patriarch of the family and he is largely quiet through the entire story. This makes sense, given the circumstances. But as he struggles with how to cope with the situation he has been placed in, we see various bursts of rage, anger, remorse, confusion and shock. Amazingly, Finney portrays these with very little outward movement. A mere glance is used to convey one feeling. A small gesture another. Charles is in shock because of what has recently happened to his family. As he begins to realize what is going on, in the background, what set all of these events into motion, he moves with his mouth hanging open, determined to find out all of the details, yet dumbfounded at the same time. It is a performance only a master of the craft could make work. Finney makes it work.
  
  "Before the Devil Knows You're Dead" is a fantastic film, an in-depth look at the actions and consequences of two royally screwed-up brothers. It is the type of film only a master director could make work. Sidney Lumet makes it work.
  
  
  

• Descent into dysfunction

  
  By A3MLO4GAD2O9DL on 2007-12-25
  At the age of 83, director Sidney Lumet proves he still has plenty of juice. And once again, Philip Seymour Hoffman proves he is one of the finest American actors working today. This powerful one-two punch nails this movie into your head; and that's further guaranteed by, a) great acting by the rest of the cast, including Ethan Hawke, Marisa Tomei and, in a bravura performance, Albert Finney, and b) a shockingly dark portrait of a family so dysfunctional it almost makes the Texas Chainsaw Massacre folks look tame. Well, almost.
  
  Two brothers, played by Hawke and Hoffman, work in the same real estate company, but are hugely different. Hoffman's the bigshot; Hawke's not. Hawke's divorced; Hoffman's married to Tomei and the opening graphic scene shows just how married the two of them are. Hoffman's got problems and so does Hawke, but they're different problems, although both have their root in money.
  
  Money drives this sucker and leads to greed, murder, despair, fear, and retribution. This is one of the darkest of noir tales in a long while; it's a noir family drama that's so unrelenting your chin drops further and further as the movie progresses and by the whopper of a tragic ending, it's definitely on the sidewalk.
  
  But this is what makes it so compelling. It's astonishingly powerful; fundamentally, you can't believe how things can spiral so much out of control the way they do in this movie, but they do, they definitely do.
  
  Hawke and Hoffman both needing money leads to a plan to get said money, and, of course--this being a noir film at its blackest heart--to get it completely illegally. Watch this movie to see how noir is REALLY done today, in the 21st century. As another critic pointed out, it's not so much that these guys are criminals, but that they are essentially average guys with some smarts who are in real jams and who take what looks like an easy way out to remove those jams...meaning that these guys could be you or me.
  
  This is a real kick in the teeth movie. Serious punch, powerful acting, a director with real chops at the age of 83, and one you won't forget for a LONG time.
  
  See it.
  
  

• Riveting and Heartwrenching

  
  By A1IWR4FKPGE95C on 2007-12-20
  I have to agree with the other reviewer this movie is excellent all around. The sex scene which opens the film is out of place as I felt that it would of probably worked better had it appeared later on in the film instead of at the beginning which is really pointless. That said "Before The Devil Knows You're Dead" is one of the best movies of 2007. One of the things that I really look forward when I go see a movie or play is the acting which in this film is exceptional. Philip Seymour Hoffman and Ethan Hawke play estranged brothers who plan the perfect crime which turns out horribly wrong. The performances of both of these actors are superb. They're two of the finest actors of their generation I feel. The writing is wonderful which makes for a perfectly written screenplay and Sidney Lumet's directing is the best we've seen since his glory years with both "Serpico and "Dog Day Afternoon" starring the legendary Al Pacino.
  
  This movie is not to be missed. I am however disappointed that it never received the promotion that it should have. I didn't know that the movie was released until I saw the trailer on an internet site. Both Hoffman (Best Actor)and Hawke (Best Supporting Actor) deserve Oscar nominations for their electrifying performances which was nothing less than spectacular. Lumet should also be granted a nomination for Best Director and the movie itself deserves an Oscar nod in the category of Best Picture. I can't say enough about this movie, if you haven't seen it go see it if you can find it playing somewhere. If not rent or buy the film when is released on DVD on April 15, 2008. You will not be disappointed. If you care about movies that are emotionally soul stirring and have depth and if you're interested in excellence in acting (as I do) you cannot afford to miss this amazing movie.
  
  

• Going to Hell

  
  By A22018UCW49758 on 2008-06-12
  Take Fargo, remove its humor, warmth and charm, and you have this film: a bummer of a tale about despicable people who attempt a crime, fail miserably, and destroy themselves in the process. It has no discernible point, except that crime doesn't pay if you're stupid. The director tries to make the story watchable by scrambling its chronology, but this is merely a gimmick. His efforts to "deepen" the material by adding a father-son conflict are equally unavailing. Philip Seymour Hoffman, physically gross as ever, relies a bit too much upon chuckling bonhomie; Marisa Tomei plays his upper-middle-class wife like a gangster's moll; and Ethan Hawke's acting is as shallow as his character. No one is likable, or even interesting, and it's impossible to care about their self-immolation. A depressing movie about scumbags who get what they deserve and deserve what they get.
  
  
• Oh What A Tangled Web We Weave, When First We Practice To Deceive
  By A1TPW86OHXTXFC on 2008-05-17
  "Sidney Lumet's "Before the Devil Knows You're Dead" is such a superb crime melodrama that I almost want to leave it at that. To just stop writing right now and advise you to go out and see it as soon as you can. I so much want to avoid revealing plot points that I don't even want to risk my usual strategy of oblique hints. You deserve to walk into this one cold." Roger Ebert
  
  Sidney Lumet at the age of 83 has again directed a film for the ages. A film of a family falling down, round and apart. Philip Seymour Hoffman is amazing as the older brother in the family. He works for a successful real estate office in NYC. His younger bro, Ethan Hawke shows us how very great an actor he can be, and works for the same agency. The Greek Tragedy begins when a plan to rob a suburban jewelry store goes all wrong. The mom and pop of this store are in reality Andy and Hank's parents. Would you, could you rob your own family? You could if you needed money badly enough it seems. Andy and Hank are in great need of money. Hoffman as Andy, has a habit that leads him to illegal drugs. Hank Hanson, Ethan Hawke, has a snarly ex-wife who wants her child support and cares naught how Hank gets the money. As Sir Francis Scott has said 'Oh what a tangled web we weave, when first we practice to deceive'.
  
  Albert Finney plays Andy and Hank's dad. His fine acting lends this film the reality of the quintessential dysfunctional family. His actions, so akin to a Greek Tragedy seal the fate of this film. The two sons who have always pandered for best loved son, can now give it up. The family relationships are not explained and it is up to us to get to know them. Mom, Rosemary Harris, has a small part but is the agent of change in this film. Marisa Tomei the wife of Andy and lover of Hank, ah, we are beginning to see the light here, plays the tragically ignored wife.
  
  "My grandfather, whose background was not so different from Mr. Lumet's, was dismissive of movies that seemed overly dark or despairing. "There wasn't a single decent human being in the whole movie," he used to complain. He might not have found any in "Before the Devil Knows You're Dead," but he would also have recognized the humanism that saves this harsh tale from nihilism. The screen may be full of losers, liars, killers and thieves, but behind the camera is a mensch." A O Scott
  
  Messy, emotional, melodramatic, film noir is my beat. This film has it all.
  
  Highly Recommended prisrob 05-17-08
  
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• Twists that are too predictable. Not as good as I had hoped...
  By A25QJBK33C4O0R on 2008-04-21
  I went into watching this film having remembered that it was talked about as a possible award winner for some of the persons involved, but was left disappointed in a film that was too predictable and relied too much on a story-telling device that just didn't work that well for me.
  
  Don't misunderstand, I enjoy non-linear story-telling when it makes sense, and I've thoroughly enjoyed some films that others felt went on far too long (see Taratino's Jackie Brown as an example in that area), telling the tale too many times and from too many different angles (perhaps), but this film, Before the Devil Knows You're Dead, just isn't as good despite decent performance from the actors and actresses involved. Where I should have been surprised by twists, I was left nodding my head at how things were just as I expected and predicted. Seeing parts of the story told again and again, just from different perspectives, just seemed to be a waste of screen time for this film and that is disappointing to me. I didn't necessarily expect more, but still felt disappointed by not finding it in the film.
  
  Sidney Lumet has done great work in the past and I don't think he did horribly here, but it's far from his best. Though the product description calls this as a suspense thriller and it tries to deliver, it seemed lacking in that area for me because it was too easy to anctipate what was coming next. Oh, there are a few twists, but those twists burn quickly and barely raise the interest that they should.
  
  The film is worth seeing, but it isn't a film that would be interesting to watch multiple times, leaving the value as a potential purchase lacking. It is a dark film and is depressing. A crime gone wrong with horrible consequences and a look at the events leading up to and after the crime all played out several times just so we can be sure we didn't miss something along the way. When all is said and done, there are other films that do a better job for me (though I'm hard pressed to think of exactly which films those would be at the moment), and certainly other films that make good use of the actors that worked here.
  
  
• 3+1/2 stars ==== Dark, depressing, ugly story
  By A3CN9CCJUNIPKT on 2008-04-17
  This is a very dark, ugly tale about two brothers who plot a crime together that explodes in their face. It wouldn't be accurate to say that the disastrously botched job ruins their lives, though, for as the film unfolds we find that both brothers were already beyond hope or redemption. The failed heist only brings things to a head... I was engrossed for the first half of this film, repelled for the rest, as layer after layer of tawdry, icky back-story reveals itself. If you like dark material, boy, is this movie for you... If, on the other hand, you're already overwhelmed by the ugliness in life, well... maybe you should pick another rental. (Slipcue film reviews)
  
  
• Terrible, slow, tedious, bleak
  By A3QJU4FEN8PQSZ on 2008-04-21
  Warning! THIS IS NOT A "THRILLER"! It's an incredibly slow, depressing, tedious "acting showcase" with no point.
  
  I write this in the hope that some will be saved. Take heed!
  
  It's sad that, like the sermonette "Lions for Lambs", they felt they had to market it as a "thriller".
  
  There are NO "twists" or "turns", unless you can't see three feet in front of you. Did I mention it's SLOOOOOOOW? Absolutely horrible. And "bleak" doesn't even begin to describe how thoroughly depressing this movie is.
  
  As for all the comments about the acting, I really don't see what the big deal is. There's nothing done here that couldn't be done by, say, Tom Cruise.
  
  Don't say you weren't warned.
  
  UPDATE: A friend of mine took no heed and ... watched it. He lamented his folly afterward, to no consolation. I'm not kidding here, folks! It's absolutely slow, bleak, plodding, and otherwise horrible.
  
  
• A thrilling and powerful film.
  By A1FG91CM8221X1 on 2007-11-25
  "Before the Devil Knows You're Dead" is one of the most thrilling crime dramas of recent years, proving that the octogenarian Sidney Lumet is just as brilliant a director as he ever was. Philip Seymour Hoffman and Ethan Hawke, looking like Francis Bacon caricatures of themselves, play financially strapped brothers who decide to solve their cash flow problems by robbing their parents' jewelry store. Needless to say, the robbery goes very, very wrong. The tense, fragmentary screenplay fills us in bit by bit as to the robbery, the events leading up to it and its aftermath, showing us not only the brothers' growing desperation but the family rivalries and character weaknesses that made the final tragedy inevitable. The final scene, a grotesque mockery of the perfect crime the brothers envisioned, suggests that apples never fall far from the tree. Like a crazed, three-way cross between "Memento," "The Asphalt Jungle" and "Death of a Salesman," "Before the Devil Knows Your Dead" keeps viewers on the edge of their seats from beginning to end. Hawke gives an indelible portrait of a pathetic loser (even his young daughter pegs him as such) and Hoffman is even better as the domineering elder brother, whose masterful calm is only skin-deep. The supporting players match the leads; Albert Finney, as Hoffman and Hawke's father, plays the last half of the film in a whirlwind of disbelieving grief and anger, his face twisted into a gargoyle mask of pain. Rosemary Harris gives a poignant performance as the family matriarch, while Marisa Tomei and Amy Ryan are impeccable as Hoffman's wife and Hawke's ex. "Before the Devil Knows You're Dead" can justifiably be considered as the best movie in Lumet's career. Considering that his other movies include "Twelve Angry Men," "Network" and "Dog Day Afternoon," that's saying something.
  
  
• I sincerely hope this was NOT Sidney Lumet's swan song!
  By AVQJD41PLPOOQ on 2008-04-24
  The only thing I enjoyed about watching BEFORE THE DEVIL KNOWS YOU'RE DEAD was seeing Marisa Tomei repeatedly naked! That was a visual treat! The rest of the movie was nothing short of painful for me; vile, despicable, unlikable characters taking us through a truly uninteresting story of two poor excuses for brothers who decide to rob their own parent's jewelry store (the locale of the store that was supposed to be Westchester was actually Bayside, Queens). Of course, the robbery goes wrong and blood is spilled.
  
  I usually enjoy robbery/heist movies, provided the crime is perpetrated by somewhat intelligent and likeable characters. Not ONE performer in this film is capable of providing either trait.
  
  Despite this horrible viewing experience, I will try my best to remember that Sidney Lumet is still a legendary director who is responsible for films like 12 ANGRY MEN, SERPICO, MURDER ON THE ORIENT EXPRESS, DOG DAY AFTERNOON, NETWORK and PRINCE OF THE CITY.
  
  
• Admiring a misnamed film I didn't enjoy with unloveable characters
  By A3RWR50VUII07D on 2007-11-11
  After seeing this film, I have to question the validity of the title that comes from an Irish toast that says,"May you be in heaven half an hour before the devil knows you're dead." This toast seems apropos for characters with whom the devil might pursue for their righteous life, so that he could snare them for himself at their death.In this film that is not the case.If any characters were not on the righteous side it certainly is this greedy ensemble! Nothing about them is the least bit admirable as they all are consumed with their own needs and problems,and if there is any minute shred of true love for anyone in any of them,it does not show in this script!
  
  Not only are brothers Andy and Hank (Philip Seymour Hoffman and Ethan Hawke respectively) broke,beaten down and filled with existential panic,but they both selfishly share the same woman,Andy's wife (Marisa Tomei) who is a totally selfish creature who pouts "you're not meeting MY needs." In order to "solve" their problems,Andy weasels Hank into pulling off a "bloodless" and "victimless" heist of their parent-owned Hanson Jewelry Store.Andy has thought he knows the every move of his parents.The perfect crime,though,is botched badly when Hank feels the need to have another person (Brian O'Byrne) actually rob the store while he drives the getaway car.Here starts a series of cover ups and back tracks and paranoia as the brothers try to undo or stop what has been put into motion.Add their cold-hearted father (Albert Finney with his mouth agape the entire film-not his best work)) into the mix as the one who wants to track down the perpetrators of the crime, and you have a tense, expertly crafted mess on your hands with 100% unfeeling,unthinking,people that I dare say would already be owned by the devil! Herein is the real rub with this film;For all of it's slick and tricky chronology jumping and generally smart acting,these characters live their lives in an existential hell where they show emotion but no deeper level of conscience. They are as cold as the concrete of the Westchester sidewalks and the amount of bodies that they rack up in their own private existence is staggering and pathetic.Whether this is Lumet's direction or inherent in Kelly Masterson's screenplay,with no character to like leaves me thinking that the title for this film should have been "I only believe in my needs,so who cares if there is a god or a devil a half hour from now."
  
  
• Huge Disappointment
  By A2CZXIEBCR4YCY on 2008-05-05
  Warning: Review full of spoilers
  
  
  I am a huge admirer of Sidney Lumet's work, and I had heard great things about this film. But I was severely disappointed.
  
  Here are some of the problems with the film:
  
  
  1. The pace of the film is very slow.
  
  2. The flash back/ flash forward technique was not needed in this film. I think it would have been richer if it had been made in a linear fashion. This would have made the pace a bit faster, and also would have allowed more time to have Andy convince Hank to do the robbery. This was done quickly and not convincingly.
  
  3. There is not a single likable character in this film. They are all horrible themselves and to each other. Even with a hugely talented actor like Philip Seymour Hoffman portraying a tortured soul, emotionally abused by his father; I felt no sympathy for him.
  
  Watching this film, I got the feeling that it got derailed at some point. The premise, actors, director, were all good. It could have been a powerful and heart-wrenching depiction of a totally dysfunctional family. It tried to be this, but it just failed. Too dark and depressing. Too slow and distant.
  
  I gave it 2 stars for the strong performances by Hoffman, Hawke, Tomei and Finney. If you like any of them, you can watch this film to see their talent, but don't expect much from the film.
  
  
  
• Before the Devil Knows Marisa Tomei's Naked.
  By A3KUUII2GSHN7T on 2008-06-30
  "Hey little brother, I've got an idea."
  
  "Yes older brother?"
  
  "Let's rob mom and dad's jewelry store."
  
  "You can't be serious, big brother."
  
  "I'm dead serious. It's as safe as can be. Know one will get hurt..."
  
  Enter in modern day Shakespearean tragedy-type plotline and, oh yeah, Marisa Tomei naked on at least three occasions, Phil Hoffman's bare butt on at least one more, and Ethan Hawke sporting his usual, cracked-out back alley mustache and we've got yet another poorly-written indy film that will likely be hated by many but adored by even more.
  
  I could go all poor-man's Ebert on you right now, but I'm not going to because only three of you will read this anyway. This film is mediocre and possibly the worse Phil Hoffman film I've seen this side of Twister.
  
  Did I mention Marisa Tomei will cause every choir boy alive to stumble in a myriad of ways? Makes you wonder why she started doing Hanes commercials being that she doesn't wear any clothes in 60% of her scenes in this film.
  
  "Just wait until we get our Hanes on you." If Marisa is wearing them, I'm buying.
  
  Gotta hand it to the screenplay guys out there. They know what sells DVDs these days, especially when your plotline is minimal at best.
  
  
  
• "Everything just went wrong."
  By AC1K4OQOZ90RS on 2007-11-11
  How many ways are there to mess up one's life? An infinite number, in the case of Andy Hanson and his younger brother, Hank. Both men are in serious financial trouble, and Andy comes up with a harebrained scheme to illegally earn some quick cash. Hank, who is none too bright, agrees to the plan and adds a few variations of his own. He winds up transforming a morally dubious and dangerous venture into an unmitigated disaster.
  
  The first hour of "Before the Devil Knows You're Dead" is electrifying. Director Sidney Lumet, working from a script by Kelly Masterson, cuts back and forth in time and steadily draws us into the downward trajectory of this dysfunctional family. We learn that Hank is a divorced father whose bitter ex-wife constantly nags him for back child support payments. He dotes on his spoiled daughter Danielle, who has been poisoned by her mother's venomous attitude towards her dad. Although Andy is smart and earns a good salary, the terrible choices he has made have drained his bank account and ruined his professional life.
  
  The film falters in the second half, mostly because of far-fetched and melodramatic plot elements. However, uniformly fine performances redeem the movie: Philip Seymour Hoffman portrays Andy with a devilish grin that hides a black hole where his soul should be and a neediness that can never be satisfied. Ethan Hawke is the weak, naïve, and foolish Hank, who quickly finds himself in way over his head. Albert Finney portrays Charles Hanson, Andy and Hank's elderly father, with towering rage, deep sadness, and endless regret. He conveys his emotions not merely with his voice, but also with his evocative facial expressions and body language. Marisa Tomei, Andy's shallow and selfish wife, and Amy Ryan, Hank's ex, round out the solid cast.
  
  Lumet's camera angles and lighting enhance the atmosphere of impending doom that escalates steadily until the final fadeout. Although the conclusion is not entirely satisfying, "Before the Devil Knows You're Dead" has undeniable power. This is the stuff of Greek tragedy--family members turning against one another and committing unthinkable acts. Lumet demonstrates how the American Dream has been perverted into an American Nightmare: Instead of emulating their parents' values, Andy and Hank sink into depths of moral depravity from which they can never hope to emerge.
  
  
• Suspension of Disbelief
  By A2CDFDEHQGM56L on 2007-12-27
  In screenwriting, there is a precept called "suspension of disbelief" and, goodness-to-gracious, is it ever applied in this film. Phillip Seymour Hoffman is brilliant and packs a WOW! punch, which makes his Best Actor Oscar-winning performance in "Capote" (2005) look like mincemeat. (Just a word of note that Toby Jones does [Truman] Capote much better in "Infamous" (2006), for which he won the British-equivalent Best Actor BAFTA award -- not to mention that Phillip and Toby were both born only six weeks apart, the very same year: 1967. Peculiar happenstance, do you think?) Marisa Tomei is completely worthless in this film, unless you are the type who would deem unnecessary nudity to be "artful" in the celluloid world. (This film wasn't shot in Digital, was it? Did any of you notice? Can the human eye genuinely discern 720p from 1080p -- 480p from 720p, most assuredly, hearty-har-har! Oh, sorry, just lost it there for a bit...) The esteemed Albert Finney does manage to pour on the grief-in-subterfuge, as the god-awful truth unfurls to a crescendo. Ethan Hawke, like Ed Harris, continues to astound as one of the most underrated actors in America, lest we not forget the splendid Rosermary Harris who looks very dangerous with a gun. One of the best films of 2007. :-)
  
  
• Dark, Overlooked, and Full of Outstanding Performances
  By A34D4KCP94ACJZ on 2008-05-29
  Directed by the great Sidney Lumet (Serpico, Dog Day Afternoon, 12 Angry Men), this is a dark heist drama about terribly corrupt people. Fairly ordinary in its theme these days but Before the Devil Knows You're Dead is remarkably deep in engaging and underrated performances. The cast includes Ethan Hawke, Marisa Tomei, Albert Finney, Brian O'Byrne, Amy Ryan, and of course the amazing Philip Seymour Hoffman in a role worthy of incredibly high praise, especially considering how unique the role is for Hoffman, who normally plays characters with a small fraction of the presence and confidence he has here. He is actually intimidating in some scenes which is a far cry from his equally engaging performances in Capote or Love Liza.
  
  Hoffman is Andy Hanson, an executive of seemingly solid repute, who has embezzled from his employer and is about to be audited. He needs money to make up for the losses due to his theft. Either that or he needs money to run far away from the law. He convinces his brother Hank (Hawke), who is also in need of money for his own reasons, to plan an armed robbery on a jewelry store. The moral dilemma here is that the jewelry store belongs to and is run by their parents. The plan fails in ways I won't reveal and eventually leads to various forms of further descent for the two characters. Albert Finney plays the father of Andy and Hank.
  
  Before the Devil Knows You're Dead is shot on high definition video and it is one of the first times I've seen the format used this effectively for a fairly low-budget feature length film. I guess even at 83 years old, Lumet is still evolving as a filmmaker, albeit the subject matter is still pretty consistent. He understands the technical end and he has always known how to tell a good story on film. The quick release on Blu-Ray was also welcome and of course consistent with the move to film on high definition.
  
  The story is told in various segments that bounce back and forth in time surrounding and during the events mentioned in the brief summary above. This was probably done to show the various character's perspectives on the events and was pretty effective for that. The movie was made on Lumet's own terms and that is something I can respect, but what made it surprising to me was the power of the characters and the performances of the actors in their roles. It really is a highlight on the resumes of all the actors involved and that is saying something for the likes of Finney, Hawke, and Hoffman. It is dark and has its own pace but I definitely recommend seeing Before the Devil Knows You're Dead.
  
  
• You have about 30 Minutes in Heaven Before the Devil knows you're Dead!
  By A2UUP58XPQW3GF on 2008-09-16
  Sidney Lumet, the acclaimed director responsible for "Serpico" and "12 Angry Men" returns with another thrilling slice of human drama in "BEFORE THE DEVIL KNOWS YOU'RE DEAD". The man definitely knows how to make a melodrama seem thrilling and immersive. I'm not going to argue with him, Lumet insists that this film is a melodrama rather than a crime thriller. Melodramas is one of the most underestimated genres in film. Whatever genre it may be under, the script by Kelly Masterson comes to life with Lumet's touch. It is a surprisingly powerful thriller (ahem), I mean melodrama.
  
  Two brothers; Hank (Ethan Hawke) and Andy Hanson(Philip Seymour Hoffman) have their own share of problems. Hank is way behind in child support payments and Andy is having some marital issues with Gina (Marisa Tomei), and his miss-dealings at work is in danger of becoming uncovered. They hatch up a supposed "perfect" crime to rob their parent's (played by Albert Finney and Rosemary Harris) small jewelry store to escape their issues. Unexpectedly, the robbery goes awry, and the Hanson brothers find themselves in a deeper predicament than ever before.
  
  According to legendary director Sidney Lumet, a melodrama is a film whereas the characters drive the plot rather than the screenplay. The film was originally meant to be a crime caper-thriller but with Lumet's very steady hand, it becomes more a slice of life or rather a very black view of a dysfunctional family. The film begins with a scene in Rio with Andy and Gina making love; yes, there is graphic sex and nudity but the way Lumet handles the scene is quite ingenious. The scene serves up a lot of character development for our main protagonist Andy. Gina (Marisa Tomei) is also having an affair with her husband's brother Hank, that also serves up a lot of "amped" up intensity in their relationship. The screenplay by Masterson originally wrote the two as only friends and thank goodness for Lumet's insistence that they be written in as brothers. However dark and bleak the film's premise is, it succeeds in serving up the needed credibility and believability in its characters and the situation they are in.
  
  The film's first half is in a fragmented style and it works. The film deals with Hank, then Andy and then Hank again. The sequences occur 3-4 days before the robbery and gives definite focus as to why and the how the two brothers could come up with a devilish scheme such as this. At first, I had some difficulty believing that two off springs could carry out a crime such as this, but as the film progresses, the character-driven plot is given room to convince. Andy is an individual who just cannot appreciate what he has and Hank is well, as their dad says, "like a baby". The film has some very noteworthy scenes before and after robbery that gives the plot a lot of emotion.
  
  Of course, for an emotionally-charged melodrama, the cast has to perform almost remarkably, and they do. Academy award winner Philip Seymour Hoffman actually carries most of the film, but it would be unfair to say that the film is a success because of his superb performance. Ethan Hawke also does a convincing job as the nervous, "loser" brother who is also a father in a bind. Academy award winner Marisa Tomei's character, Gina may be a little underdeveloped, but the actress does maximize whatever she had to work with. Tomei plays her character with a sort of a mild femme fatale in the beginning, Marisa is so sexy and her facial expressions can work the camera when it comes to emotion. Albert Finney plays the father determined to find those behind the robbery, and his mannerisms and actions display pure emotional pain.
  
  Sidney Lumet definitely knows how to bring the best out of his cast and this film is another testament to his directorial skills. The script may not offer that many surprises, (you can tell from a mile away that the film will be bleak and black) and the climax may feel a bit perfunctory and opens up a few unanswered questions but the structure and the direction is solid enough to immerse the audience. For me, at least, the ending gives an exclamation point and serves up some details left for our imagination and understanding.
  
  "Before the Devil knows your dead" makes for a very gripping and bleak melodrama and it comes with a highly recommended rating from me. The characters do come alive and the film's plot is interesting enough to keep you glued to your seat. You are about to be taken for a ride...
  
  HIGHLY RECOMMENDED! [4- Stars]
  
  
  
  
  
• WOW WOW WOW WOW WOW!!!!!!!
  By A2ARRAMXWT83PT on 2007-12-19
  Excellent! One of the best films of the year. You can't take your eyes off of it. Totally riveting from start to finish! The performances are spectacular all around, the direction is flawless, the writing - AMAZING! One of Lumet's best films since "Dog Day Afternoon". Talk about a robbery gone wrong...geez.
  
  There aren't enough words to describe it, you just have to see it. NOW.
  
  Oh, yeah...the sex scene at the beginning is both pointless AND disgusting. There was NO NEED for that. Buhhhh.
  
  
• Beat The "Devil"
  By A3C6X0DAM87GN4 on 2008-01-28
  At age 83, Sidney Lumet proves all the nay-sayers wrong who argue with age comes a loss of talent. "Before the Devil Knows You're Dead" is one of Lumet's best films.
  
  Two brothers, Hank (Ethan Hawke) and Andy (Philip Seymour Hoffman) decide to rob a jewelry store. Their motives are admittedly cliche. Hank is divorced and behind on his child support. Andy has to maintain a certain lifestyle for his wife (Marisa Tomei). Both of whom claim to only be happy and at peace when on vacation in Brazil.
  
  Still despite this cliche idea; one last heist will set us free, Lumet makes sure nothing else is predictable, from whose jewelry store is robbed to the film's climax. In fact that's what hurts the film a little. It has some moments which seem unreal, not believeable. But because the film is directed by Lumet I trust his instincts and feel he won't let the film get carried away with itself. He'll somehow make it all believeable. And to a very large extent, he does!
  
  The relationship between the brothers and their relationship with their father feels true. I almost wish the film had spent more time on the relationship between Andy and his father, Charles (Albert Finney). Andy is the older brother, the leader. He is the emotionally strong one whereas Hank is a baby, both in birth order and maturity. Hank is weak and dependent on his brother. Yet Andy has his weak moments as well. He has an emotionally distant relationship with his father. There is one powerful scene where each man apologizes for not being what the other wanted.
  
  Hoffman has had a strong year, appearing in three heavily favored films; "The Savages" and "Charlie Wilson's War" but it is his work here which truly touched me. I felt for his character. It is an emotionally complex, roller-coaster character and in my opinion a disgrace he didn't receive an Oscar nomination for his performance here. I know everyone and their brother agrees Daniel Day-Lewis will win for "There Will Be Blood (and his performance does make that film) but Hoffman's performance got to me more. Personally it is my favorite performance of the year because I can relate to this character.
  
  But it is not just Hoffman who I feel was wrongly snubbed . Hawke is convincing in his role as is Finney. And where's Lumet's nomination for directing? He orchestrates the film wonderfully. There are certain editing choices I didn't like, the film is told out of sequence, but, he brings out some great performances from his actors. You have to give him credit for that.
  
  "Before the Devil Knows You're Dead" was the most draining experience I had at the movies. To call the film a downer is to understate the film. It is unrelenting in its intensity. It just brings you down. But that is not a fault because Lumet remains consistent with the tone. And because of that it is fittingly paced. We slowly become more and more absorbed.
  
  I mentioned the film becomes unbelieveable, but, I didn't reveal why I felt the climax is and who they rob. I did that on purpose. I don't think you should know. And if you do know in advance, don't blame me, it's not my fault. The movie works best when you know as little as possible about where the plot will take you. Like a good heist, it's the element of surprise that counts. *** 1\2 out of *****
  
  Bottom-line: One of Sidney Lumet's best films despite some minor flaws. Effectively paced. Lumet gets some strong performances out of his actors.
  
  
• One of the most depressing movies ever...
  By AENRHAKDM5GMP on 2008-04-18
  Fantastic acting and screenplay all around bring one into the lives of a family torn by monetary, materialistic, overextended desperation, showing how easily "one of us" can get sucked into a downward spiral of events in order to maintain a level of decorum and standard of living that we are used to and seemingly must have, demonstrating how a basic lack of character and a "touch of evil" can pervade this struggle and lead to murder and deception even at the expense of one's own family. This movie hits very close to home, with all of our middle class struggles, calling into question how far we are willing to "stretch the boundaries" in order to "white lie" just enough to maintain who we THINK we are, and thereby get ourselves trapped down the slide of no return. One watches in pain and horror as Hoffmann's character devolves from an upper middle class successful real estate accountant into a "soul death" where desperation is the English way of surviving, where most of us less selfish (in this case, Hoffman's attempt at self-preservation is truly more selfish than a suicidal end to his life would have been) souls would come to the point of likely committing suicide in order to escape this inevitable fate.
  
  One is led to feel for Hawke's character as a victim of circumstance, and yet he cannot be totally exonerated due to several flaws in his character as well as indicated in the film. The father of the Hawke/Hoffman brothers likewise cannot escape scrutiny via his hell-bent quest for vengeance, which results in a rather sad climax.
  
  A warning: this is certainly not ANY sort of feel-good movie. You will be touched by this movie in ways not initially intended, and not necessarily desired. BUT, you will not escape this movie's experience without serious introspection and movement of your soul, one way or the other.
  
  Recommended, but only if you are very emotionally stable and or have the support of those close to you who are. Watch this movie with your (mature) family members. You will need the support. "The Notebook" is a similar style movie, but even it has a generally positive outlook. "Before the Devil Knows..." leads to a fatalistic lack of hope, despair, and death.
  
  Be ye cautiously warned. The acting is first notch and one believes and experiences each characters' plight and expends a ton of emotional energy in just viewing this film. Hawke has grown immensely, but Hoffmans' continual mumbling and trailing off of words and resulting occasional unintelligibility is starting to annoy me (in many movies of his), I must say. Find a way to watch this movie, but plan it carefully, and don't watch it alone...
  
  
• Spectacularly dark and absorbing
  By AJKWF4W7QD4NS on 2008-05-13
  From legendary director Sidney Lumet comes Before the Devil Knows You're Dead; a dark, bleak, and absorbing tale of a family that borderlines on Greek tragedy. Philip Seymour Hoffman stars as Andy, a desperate and drug raddled payroll executive who convinces his cash-strapped brother Hank (Ethan Hawke) to pull off what could be the perfect crime. The crime is knocking off a mom and pop jewelry store, that just so happens to be run by their actual parents (Albert Finney and Rosemarry Harris). That's what makes it perfect: mom and dad get taken care of via insurance, and Andy and Hank's money problems are taken care of. However, things don't go as planned, and quickly spiral out of control, leading to a climax that you may not see coming. Though the script from Kelly Masterson tends to rely a little heavily on the whole "repeat scenes from different perspectives", it works very well in Lumet's hands, and the work from the cast is nothing short of superb. Hoffman, Hawke, and Finney are wonderful and magnetic, while Marisa Tomei delivers a sympathetic performance as Andy's long suffering wife. Even relatively minor roles from Michael Shannon, Brian F. O'Byrne, and Amy Ryan manage to be memorable. All in all, Before the Devil Knows You're Dead is a spectacularly dark and absorbing film from the legendary Sidney Lumet that deserves your attention.
  
  
• so terrible it's almost funny...but not
  By A3N1VE6BPBN6I4 on 2008-05-14
  I thought this movie was unwatchable! Great actors perform badly, and a fine director falls short. I'm all for sex and violence when it makes sense in the context of a well-thought-out plot, but the sex and violence in this movie was gratuitous and uninteresting. If I hadn't seen it with friends, I would have walked out thirty minutes in.
  
  
• "I got to get into character."
  By A4UKBG3M5U5TI on 2008-05-17
  "Before the Devil Knows You're Dead" is a tough crime drama that exposes the seamy underbelly of life. Philip Seymour Hoffman and Ethan Hawke star as an unlikely set of brothers, both of whom are having money problems. Hoffman devises a plan to help them both get some cash - not surprisingly, the plan turns sour. The rest of the movie concerns the fallout of their actions. The plot jumps back and forth in time and is told from multiple perspectives; there are also some nifty plot twists, the biggest of which is revealed very early in the movie.
  
  During the 1970s and early 1980s, Sidney Lumet directed a number of great movies focusing on big city corruption (Serpico, Dog Day Afternoon, Network, Prince of the City). He got off track afterwards, only rarely scoring with a moderate critical hit (Running on Empty, Night Falls on Manhattan). By returning to his theme of the evil in seemingly good New Yorkers, Lumet rises to his earlier directing glory - "Before the Devil" is easily his best work since 1982's "The Verdict." He's aided by a stellar cast, which includes Albert Finney and Marisa Tomei, who is so often under-used in films.
  
  Many of the biggest critical hits of 2007 explored dark themes - "No Country for Old Men," "American Gangster," "Eastern Promises," and "There Will Be Blood." This film can hold its own against these heavyweights; unfortunately, "Before the Devil" was criminally neglected during awards season, scoring only a few wins from minor film critic societies. Hopefully on DVD it can reach a far wider audience.
  
  
  
• Sorry I wasted my time
  By A2OIN5IHX3TZ15 on 2008-05-23
  This movie jumped around too much without a good transition. Dont get me wrong, I love movies that do flash backs, but this movie did not transition well. It was very depressing and the way it ended was BULL SH**!!! It was a waste of the $1 I spend to see it and a waste of my two hours I could have spent watching something better.
  
  
• Its official....Hollywood has run out of ideas
  By ASMOM6XXT78C6 on 2008-06-29
  First off, Washington Post film critic Stephen Hunter ranked this as one of the year's 10 best films. Otherwise I wouldnt have stuck with it.
  
  I found it to be a depressing story about a family's implosion based on several unrealistic premises. The faults with the acting and story are well described by others. Particularly disconcerting was that the still-very-hot Marisa Tomei played the wife of a very physically unappealing Phillip Hoffman. Riiiight. And to top it off, he cant get excited by her. Get real. Or is that supposed to give us some pseudo-insight into his character? Either way, it's one more barrier to believing much less caring about these characters which for me became impossible by the mid point of the movie (after an episode involving drug use). The flashback technique tries to divert you from the realization that there is no worthwhile story here. Once the premise is established you can pretty much guess the rest- and yes, you are probably guessing right. There were several times I almost stopped watching but I kept hoping the movie would improve. I regret sticking with it all the way and have Stephen Hunter (who I usually agree with)to thank.
  
  In the bonus features, the producers and other personnel are tripping over themselves talking about how wonderful everyone is to work with and how important they all are and how lucky they were that Sidney Lumet picked this script out of so many others. Was this really the best that Hollywood could do? Did this story really need telling or was it more of a business decision? It seems more like the latter. But then movies are a business after all.
  
  My recommendation is don't waste your time watching this one. But maybe you'll see it as Hunter did - as a "vivid funny black comedy". I found nothing funny in this movie but if that's what you're looking for, "In Brugges" is a better choice.
  
  
  
• IS IT JUST ME - OR IS ETHAN HAWKE THE SLIMIEST LOOKING ACTOR IN THE WORLD????????
  By A20THN6VN6F0TZ on 2008-07-28
  I had the misfortune to purchase this movie at Blockbuster this weekend out of the bin 3 for $20 . . . While I love Sidney Lumet - when people describe this as a dark film - that is a complete understatement! Even Albert Finney (the true victim in this film) is totally unlikeable. As for the two brothers - I have long wondered what ANYONE could ever see in Ethan Hawke - he is so hideous to look at! I would rather look at Phillip Seymour Hoffman naked anyday- and believe me that is not a sight I ever want to see again, either. The acting and directing was first rate but all of the characters were so utterly devoid of any shred of decency - it was sooooooo dark and when it was over I just sat there wondering why I watched the whole thing. Don't bother - but if you have to rent it DON'T be stupid enough to buy it at ANY price!
  
  
• Thank God for Fast Forward should've been the title!
  By A3BG3TY9P0F9ID on 2008-07-31
  Too make this short and bittersweet: Before the Devil Knows Your Dead is virtually unwatchable. Lumet relied on a lazy and tiresome series of flashbacks (think Vantage Point which does the same and is equally unwatchable) to tell the most depressing and unrealistic story I've ever been asked to suspend my disbelief for. The flashbacks are the laziest and most annoying way to try and narrate a story and it winds up being tedium instead of building drama. I will forget this garbage and instead remember Lumet for his earlier masterpieces.
  
  
• Wreaking Ball
  By A2QXHF0ATTLDP1 on 2007-11-14
  This film is a wrecking ball operated by Sidney Lumet -- it crashes through manicured downtown New York lofts and lives alike while viewers gawk at the spectacle. If there's a weak link in the cast, it's Ethan Hawke, but even he might get an Oscar nomination for his work here. The level of performance is so high that you nearly miss the film's nearly perfect production design and cinematography. Unfortunately, it's tone is so bleak, bordering on noir, that it becomes much easier to compartmentalize and appreciate from afar rather than embrace and enjoy. (8/10)
  
  
• A very chilling and engrossing film!
  By A2R1HAXRNU0QX7 on 2007-11-30
  I had a pretty good idea of the basic plot when I walked into the theatre. Two brothers (Philip Seymour Hoffman and Ethan Hawke) plan to hold up a jewelry store in a strip mall...and the store is owned by THEIR PARENTS. I also knew it bounced around in time a little.
  
  What I didn't expect was such an unrelenting look at a whole bunch of magnificently screwed-up people! WOW! I was left almost breathless by the new depths to which these folks could sink. It was a family tragedy, but there sure wasn't anything noble about these characters.
  
  Hawke is the younger brother, and he works for the same company as his brother, but in a fairly lowly position, and he can barely make ends meet. He's way behind on his child support, and his daughter is growing more and more aggravated with him because he can't follow through on his promises to her to do things like fund her field trip to go see THE LION KING on Broadway. He appears to be ever so slighly dim-witted, although that may just be the drugs. He lives in a rough apartment and has some pretty rough friends.
  
  Hoffman is the older brother, and while on the surface he may appear to be a little more together (he has a fairly responsible accounting position in the company)...we actually see as the movie progresses that he's in some seriously deep trouble. His marriage to Marisa Tomei is very much on the rocks, and the only good times they had recently were on vacation in South America. He believes he can start a new life down there, and keep his marriage going...but how to fund such a move? He's also into some pretty hefty drugs and even his larger salary can't fund it all.
  
  It's his idea to rip-off the parents. ("Hey, they're insured.") Hawke finally buys into it, and they enter into the plot. It isn't spoiling much (because we see it so early in the film) to say that things don't exactly go smoothly! I won't say more, so you can see for yourself.
  
  So why are these two guys SO screwed up? We see some of this as more scenes between the boys and their parents are revealed. In particular, we see their relationships with their father, Albert Finney. He's an old man now, but we get the idea that when he was younger, he was pretty tough old bird, difficult to please, lacking in affection and just a real poor father. Scenes with mother Rosemary Harris are fewer and less illuminating. It's really a story about how men in a family can screw each other up. BEFORE THE DEVIL KNOWS YOU'RE DEAD takes this idea to EXTREMES.
  
  Towards the end, the actions of Hoffman in particular become almost monumentally deranged. We believe that he is doing what he's doing...but it's hard not to gasp in dismay. He is truly a completely broken and desparate man. All sympathy we might have had for him is gone...just like any sense of a moral compass he might have had. And Albert Finney arguably goes even one step more off the path of righteousness at the very end.
  
  Anyway, I hope you get that this is not a happy, light film. But it is powerful, astonishingly well acted and written, and an absolute must-see. It's a riveting time at the theatre!!!
  
  Hoffman is brilliant...pure and simple. His work here easily equals anything he's done before. I don't know if the film will be an Oscar contender, because it has such a small audience...but it should be and absolutely Hoffman should be up for Best Actor. Hawke is also very good...he is a complete coward and makes up both sympathize him and despise him. He could be up for Best Supporting Actor. Finney is always an imposing presence...and he's very good here. Again, I can't tell you too much without spoiling the plot line, but let's say he goes very convincingly from distraught to enraged. Marisa Tomei does another masterful performance as the woman who unknowingly is the downfall of the men in her life (in some ways...don't accuse me of being a chauvenist...I'm just saying that a lot of the choices the characters make revolve around trying to please her). She gives a brave performance (she spends a lot of time in the nude) and is her usual mixture of sultry and defenseless. If her role in IN THE BEDROOM got her a nomination (which she deserved) then I think she could have another one here.
  
  Director Sidney Lumet may be getting on in years...but my goodness, he sure doesn't hesitate to step right into some very murky and unpleasant waters. His film is super specific, has a wonderful sense of place and he also gives his great cast the space they need to "do their stuff." No quick edits, or blitzkreig pacing when it doesn't suit. He believes we will be gripped by the story, and he's right.
  
  This is not a film for the kids! Nor is it a film for someone looking for a glossy Hollywood film. It's pretty brutal and uncompromising. But I couldn't tear myself away, and the audience I saw it with was clearly as mesmerized as I was. GREAT stuff!!!
  
  

• There Will Be Blood
• Charlie Wilson's War
• Juno
• Michael Clayton
• American Gangster