Before the Devil Knows You're Dead

When planning my TIFF schedule, I decided that I’d likely apprieciate at least one slow day with only one film near the tail end of the week. Day 8 gave me “Before the Devil Knows You’re Dead” the new Sidney Lumet film starring Philip Seymour Hoffman, Ethan hawke, and Marisa Tomei.

Much to my surprise, Sidney Lumet showed up to introduce the film. Talk about an icon of cinema. As TIFF co-director Noah Cowan pointed out, it’s been 50 years since he directed “12 Angry Men” and in between then and now, you’ve had “Network,” “Serpico,” and “Dog Day Afternoon,” even if you want to overlook “Gloria” and “The Wiz.”

Also on hand were Oscar winner Marisa Tomei and Ethan Hawke, who is not at all as rat-like in appearance as you’d expect. Although the years have not been kind to the actor/novellist. Hoffman was back in Australia filming a new movie.

“Before the Devil..” is a long title for a simple film. Noir-like, the plot is revolves around a botch heist masterminded by two brothers, Hank and Andy (Hawke and Hoffman). The twist is of course, that the targeted jewelery store in question is owned by the brother’s parents (Albert Finney and Rosemary Harris). Hank is what we’d call a “loser”- divorced, his ex-wife and daughter hate him and he’s down on his luck. The heist is a way out and a way to provide for his daughter. Andy is a bored coroprate yuppie, busy supplying his drug habit and pandering to his wife (marisa Tomei) who is in the midst of an affair…with Hank.

The film overlaps and doubles back on itself to provide persective from each of the main characters, including the mean-spirited and hard to like father. Over different days, we see the lead up to events through each of the character’s own eyes., which present us with a more rounded portrait of the family. No one is really that likeable, even by the end of the film, there really isn’t anyone to root for, but the actors give their all performance-wise.

The one major complaint I have with the film is the way Lumet flips perspectives between the characters. In a very jarring way, the film shakes, and skips providing multiple fast-paced jump cuts cut to a jarring techno-sounding beat box screech. It distracts and jars the viewer and stick sout like a sore thumb. it also happens to be one of the most talked about elements heard from the audience exiting the Elgin theatre, aside from Marisa Tomei’s numerous nude scenes.

Not bad, but the more I reflect on it, the less I like it. I enjoyed it coming out of the theatre, and not to suggest that it’s a poor film, looking back, it really didn’t do much for me. Then again, my 14th movie of the festival, I’m getting harder to impress.