In a way Before the Devil Knows You're Dead is like watching a car crash %u2014 you want to look away, but something compels you to try and take in all the gory details.
Before the Devil Knows You're Dead (2007)
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Reviews Counted:156
Fresh:137
Rotten:19
Average Rating:7.7/10
Consensus: A tense and effective thriller, Before the Devil Knows You're Dead marks a triumphant return to form for director Sidney Lumet.
Rated: 15 [See Full Rating] for a scene of strong graphic sexuality, nudity, violence, drug use and language.
Runtime: 2 hrs 3 mins
Genre: Family Interaction, Thriller, Infidelity, Theatrical Release, Brothers, Affairs
Theatrical Release:11-01-2008
Synopsis: From the unexpectedly graphic opening shot, director Sidney Lumet proves he hasn't lost any of his bite with age. BEFORE THE DEVIL KNOWS YOU'RE DEAD is a riveting suspense thriller that retains the... From the unexpectedly graphic opening shot, director Sidney Lumet proves he hasn't lost any of his bite with age. BEFORE THE DEVIL KNOWS YOU'RE DEAD is a riveting suspense thriller that retains the director's classic approach to storytelling while updating it at the same time. Working from an intense, expertly woven script by playwright-turned-screenwriter Kelly Masterson, Lumet establishes his tragic tone immediately. The story concerns a New York family with a roiling undercurrent of dysfunction. The eldest son, Andy (Philip Seymour Hoffman), is a frustrated, drug-abusing stockbroker who is unable to satisfy his gorgeous wife (Marisa Tomei). The youngest son, Hank (Ethan Hawke), is passive and struggles to make alimony payments. Their parents (Albert Finney and Rosemary Harris) live in Westchester and operate a small jewelry store. Their lives begin to unravel when Andy approaches Hank about pulling off a heist that will seemingly solve all of their monetary problems. Everything about this idea is risky, yet Andy convinces his timid younger brother that this is his only way out of his current situation. Naturally, their plan falls apart, resulting in a series of tragedies that they never could have predicted. BEFORE THE DEVIL KNOWS YOU'RE DEAD belongs beside such Lumet classics as DOG DAY AFTERNOON, NETWORK, and SERPICO. The cinematography and editing and score are all excellent, but the performances are what launch the film into the stratosphere. Oscar-winner Hoffman (CAPOTE) and Finney have never been better, and the rest of the cast--Hawke, Tomei, Michael Shannon--rise to the occasion with unforgettable results. [More]
Starring: Philip Seymour Hoffman, Ethan Hawke, Marisa Tomei, Albert Finney
Starring: Philip Seymour Hoffman, Ethan Hawke, Marisa Tomei, Albert Finney, Rosemary Harris, Michael Shannon
Director: Sidney Lumet
Director: Sidney Lumet
Screenwriter: Kelly Masterson
Producer: Michael Cerenzie, Brian Linse, Paul Parmar, William S. Gilmore
Composer: Carter Burwell
Studio: ThinkFilm
Reviews for Before the Devil Knows You're Dead
Before The Devil Knows You're Dead plays around a bit with time and perception, and the story unfolds at a tremendous clip. The movie is not without its share of black humour, but it's an exercise in violence and adrenalin. And tragedy.
You feel Before the Devil Knows You're Dead more than you watch it. And the feeling is far from warm and fuzzy.
At a time when family movies are usurped by fantasies of sentimental feelgood, Lumet's latest -- the mangled-heist melodrama Before the Devil Knows You're Dead -- delivers a swift kick straight to the jewels.
Last month, there were a couple of movies (Michael Clayton, We Own the Night) that recalled the '70s heyday of director Sidney Lumet. This month, we get the real deal.
Sidney Lumet's Before the Devil Knows You're Dead starts with a bad idea -- a plan by two brothers to rob their parents' jewelry store -- and whips itself into a beautifully acted, nervous-making frenzy of a melodrama.
Emotionally brutal, ferociously acted, crafted with unflagging expertise and relentlessly locked in its vision of human darkness, Before the Devil Knows You're Dead is as grim and despairing as any tragedy by Sophocles or Shakespeare.
Lumet's rejection of despair and cynicism despite the grimness of the events he depicts ('Fail-Safe' ends with the obliteration of New York) and his refusal to disrespect the intelligence of his audience seem more valuable every day.
This machine repeatedly threatens to rev up, but mostly just keeps slipping out of gear.
The problem is not that the director is working but that his latest film is working too hard. Way too hard – this thing is melodrama running a marathon.
The family dynamics are skillfully rendered, the suspense is bruising and each man's performance is a revelation.
Just when Lumet starts to build some decent tension, he cuts back, losing the suspense and replacing it with a rehash of what we've already seen.
Despite its idiosyncrasies compared to more modern thrillers, it's a fine addition to an outstanding season for movies.
As reckless and forlorn as the brothers and their father may be, it's plainly worse for the women who come anywhere near them.
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