The Family Fang (2015) Reviews

• A twisted portrait of parental abuse under the guise of art

  CineMuseFilms2016-12-06

  Bad-parent movies are a popular comedy genre that laughs at parents for not being perfect. The drama, thriller or horror versions are more about exploring the dark side of family life and the damage that adults inflict on their young. The offbeat satire The Family Fang (2015) has its funny moments but this is not a comedy. It is a portrait of psychological abuse conducted by parents in the name of art with sinister undercurrents always beneath the surface. Internationally renowned Caleb Fang (Christopher Walken) and his wife Camille (Maryanne Plunkett) are performance artists dedicated to disrupting the conventions of normality. They stage impromptu happenings in public places simply to witness the sublime beauty of the resulting chaos. Their children Annie (Nicole Kidman) and Baxter (Jason Bateman) have been used as performance props since they were born and their adult lives bear the scars of parenting based on artifice and deception. As youngsters they busked a song "kill all parents so you can keep living" just to get crowd reactions, but they could not foresee the truth in the lyrics nor how their parents would control their lives into adulthood. The story unfolds backwards with Annie and Baxter at their parent's empty home searching for clues to explain the sudden and violent of disappearance of Caleb and Camille. Police believe the worst but the siblings believe it is just another stunt. While trawling through videos and other memorabilia, they see their lives paraded before them. They realise that they have always been exploited and are victims of unresolved psychological abuse. Through flashbacks, they can see Caleb as a violent personality and Camille as meekly compliant while family gatherings were tension-filled events under Caleb's domination. When the siblings question the value of the performances the reaction is pure menace. This is a dysfunctional family in both obvious and implied ways, and the film keeps us guessing whether the knotted ball can ever be untangled. The four characters are well defined with strong and believable performances, and the conflicts between young and old are frighteningly recognisable as the kind of things that happen in both normal and transgressive families. When Caleb says "parents damage kids, so what" it sends a shiver down your spine to realise that some people are not psychologically equipped to be parents. Annie and Baxter must confront the fact that letting their parents go may the only way to grow up. This is an original take on an age-old story that is also provocative and engaging.

• Easy to over-analyze, gets pretty difficult to watch

  finchsam2016-05-15

  Based on the 2011 best-selling American novel of the same name, The Family Fang tells the story of an unconventional family and the public pranks they pass off as performance art which is fun for them but shocking to the unsuspecting participants. The movie opens with one such prank in the form of a staged bank robbery, and it is fun and a little shocking, but then it's all downhill from there. The ensuing pranks are dull, and the characters some 30 years later are likewise uninteresting. The talents of Nicole Kidman, Jason Bateman, Kathryn Hahn and Christopher Walken are all wasted here on a wishy-washy script that probably sounded fine in a read-through, but just didn't translate well to the screen at all.

• The Family Fang: its best Quality is Originality, I guess.

  niutta-enrico2016-05-07

  This is a very good work of fiction, well represented on the screen by Jason Bateman (who starred and directed it) and his stellar cast. It's the story of a unusual family: you will find the story truly original, not only in its premises or in the sequence of events but also because in the end you'll be left without any moral teaching: everything will seem possible and acceptable. I found it interesting but, to be sincere, not really catching or entertaining. If you are looking for a Comedy I'm afraid you'll be disappointed. If you think you are going to watch a drama you'll probably find it poorly moving. If you want to see something original, on the contrary, you could be satisfied I guess.

• For most part it's uninvolving and sleep-inducing

  kaptenvideo-898752016-12-08

  Wow, weird one, this. For most part it's uninvolving and even sleep- inducing. And I wouldn't say it's put together successfully: too much empty talk and too little character development or concentrating on family dynamics. But it does raise interesting questions about how or why parents are to blame for shortfalls in their offsprings' later independent life. And the short but quite powerful finale does lift it somewhere higher than before. At least it did for me. The story is about adult brother and sister (Nicole Kidman, Jason Bateman) not enjoying their adult existence and blaming parents for not raising them the proper way. But the latter (Christopher Walken, Maryann Plunkett) are lifelong controversial performance artists who claim that true art is more important than being like everybody else. I haven't read the successful 2011's novel by Kevin Wilson the movie is based on but Bateman, also directing, seemed to be struggling with the adaptation. Movie as a whole is in terrible need for some balancing. The scenes with parents are functional, thanks to evercool Walken. But the story concentrates mostly on adult children who are so devoid of charm or anything remotely interesting that may put me almost to sleep. Think "The Royal Tenenbaums" but without the fun parts or unique voice of Wes Anderson. I am not sure what is it with Kidman and Bateman. They both can be really cool given some good material but they rarely manage to find something worthwhile. This is not the good project their fans have been looking for.

• Sibling Togetherness

  tributarystu2016-05-17

  After 'Bad Words', Bateman the director appears to be heading in the right direction and takes on a more ambitious, layered project. This film deals not only with a dysfunctional family, a concept that has fascinated American cinema ever since American Beauty, but also with the relation between art and life. Thematically, the family ensemble has been portrayed more incisively in the recent past (The Squid and the Whale, to name just one example with a similar character ratio), but the manner in which relationships are blurred and redefined here gives Fang a captivating spin. We are presented with two seemingly wayward, middle-aged siblings who, it turns out, grew up in a tradition of 'intempestive art'. Alongside their eccentric parents, they enacted hoaxes of different scales in front of onlookers who were not in on the game - all with the aim of eliciting life out of the an otherwise mundane, controlled existence. As an accident reunites the family, which had drifted apart in the mean time, tensions persist, culminating when the parents disappear and the obvious question is asked: is this just another hoax? The story works primarily because Kidman (Annie) and Bateman (Baxter), child A and child B, as their parents called them, convey an understanding that does not require explanations. It's the kind of sibling relationship that draws from so many shared experiences, joys and traumas that it defines a common frame of existence which time has difficulty in erasing. Similarly, we as an audience draw the faith required to suspend our disbelief from the energy the two control when on screen together. The questions pertaining to the philosophy of art, its authenticity and veracity, are interesting to ponder, but they only provide the backdrop to what Annie and Baxter have going on. The point of convergence between the two themes is that of control - its purpose in art, its purpose in relationship building. This is fascinating, as control is so inherent to anything that happens in the early years within a family: the setting of constraints to the socially unrestrained spirit of childhood. It does not have to be coercive, but it is a matter of natural imprinting that occurs along the way, whether overtly or not. As adults, the struggle becomes to establish what we can (and should) control and what we need to let run freely. The mantra their father had instilled in Annie and Baxter emphasized the idea that by staying centered, one can let the surrounding chaos sweep over and past you. A lot of the time it's easier said than done. We also see that different people need different things in order to express themselves - a given, sure, but finely synthesized in Annie's qualms as an actor and Baxter's writer's block. Where the story does fall a bit short is in the resolution. In a way, it's predictable and boring, but it's also inevitable. Inevitability is usually a good thing to have in an ending, especially in one dealing with the nature of art. Still, a stronger build up and a more resolute finale would have turned Family Fang into a really memorable piece of work. As it stands, it overemphasizes the idea that unrestrained (performance) art comes at a hidden cost both to those involved and to those affected by it. That it becomes hard to keep art and life contained. And, surely, that the price for this is too high. Nonetheless, my newly found penchant for movies about siblings really let me enjoy this story. Perhaps just a bit more than I should have, but that's thanks to how authentic Annie and Baxter feel and the depth they lend to the experience.