Sean Connery, Dustin Hoffman, and Matthew Broderick have all lent their talents, but their participation in this movie prompts more head-scratching than anything else. Why’d they do it?
It’s not a bad film, exactly. Connery, very much in his roguish element, plays a lifetime crook named Jesse McMullin, who’s always conducted himself by his own code of honor. He’s spent plenty of time in jail over the years, yet he’s respected and even loved by nearly everyone who knows him.
Everyone, that is, except his middle-aged son, played by Hoffman. (Because the elder McMullin was married to a Sicilian woman, their son was named Vito, a fact that continues to rankle the old man.) Vito, after briefly following his father’s criminal ways as a young man, has painstakingly built up a Manhattan meat business, which he loathes. But it is a badge of accomplishment to him that he has shut out his father’s life. The fact that Vito does not seem particularly happy is, to him, beside the point.
Vito’s son Adam, played by Broderick, has been strictly raised. Nothing but the best for this boy, the better to shield him from the family’s criminal streak. True to form, however, the kid has dropped out of college, just before getting his master’s degree. It seems he has an itch to try something a bit more dramatic.
Adam has a scheme cooked up whereby a cool million can be made by robbing a big chemical company. He enlists the aid of his wily grandfather, who suggests bringing Vito into the caper. After much reluctance, Vito joins up.
The rest of the movie is the robbery, plus the inevitably tangled consequences. Vincent Patrick’s screenplay, adapted from his novel, has a lot of scenes of people talking, and a static quality regularly creeps into the movie. Still, much of the talk is good and the actors who deliver it are just fine, so a lot of it works.
There’s just this sense of blandness about the whole thing. Even the ad campaign, three men in suits and ties staring at the camera, is dull. Director Sidney Lumet, who has made so many films in New York, gets an effective feeling for the city, and a nice contrast between Vito’s blue-collar business and his antiseptic, stylish high-rise apartment. There’s also a fitting clash of acting styles, in Connery’s juicy straightforwardness against Hoffman’s catch-in-the-throat Methodizing.
But Lumet can’t conquer a central flatness. Family Business finally washes itself out, as bland as a suit and a tie.
First published in the Herald, December 19, 1989
Tell you the truth, a suit and tie look pretty hotsy compared to this thing. The review is too generous. The movie is a stiff. It has some kind of writer’s strike vagueness to it, although I don’t know whether it was actually affected by such an event.