Product Description

Master filmmaker Sidney Lumet directs this absorbing suspense thriller about a family facing the worst enemy of all itself. Oscar®-winner Philip Seymour Hoffman plays Andy, an overextended broker who lures his younger brother, Hank (Ethan Hawke) into a larcenous scheme: the pair will rob a suburban mom-and-pop jewelry store that appears to be the quintessential easy target. The problem is, the store owners are Andy and Hank s actual mom and pop and, when the seemingly perfect crime goes awry, the damage lands right at their doorstep. Oscar-winner Marisa Tomei plays Andy s trophy wife, who is having a clandestine affair with Hank. The stellar cast also includes Albert Finney as the family patriarch who pursues justice at all costs, completely unaware that the culprits he is hunting are his own sons. A classy, classic heist-gone-wrong drama in the tradition of The Killing and Lumet s own The Anderson Tapes, BEFORE THE DEVIL KNOW YOU RE DEAD is smart enough to know that we often have the most to fear from those who are near and dear.

Product Details

• Amazon Sales Rank: #2249 in DVD
• Brand: Image Entertainment
• Released on: 2008-04-15
• Rating: R (Restricted)
• Aspect ratio: 1.85:1
• Formats: AC-3, Color, Dolby, DVD-Video, NTSC, Widescreen
• Original language: English
• Number of discs: 1
• Dimensions: 1.00 pounds
• Running time: 112 minutes

Amazon.com
Sidney Lumet’s Before the Devil Knows You’re Dead is an exceptionally dark story about a crime gone wrong and the complicated reasons behind it. Philip Seymour Hoffman and Ethan Hawke are outstanding as brothers whose mutual love-hate relationship subtly colors their agreement to rob their own parents’ jewelry store, and more explicitly affects the anxious aftermath of their villainy when their mother (Rosemary Harris) ends up shot. Hoffman’s steely, emotionally locked-up Andy, despite pulling down six figures as a corporate executive, is supporting an expensive drug habit while trying to leave the country with his depressed wife, Gina (Marisa Tomei). Hank (Hawke), a whipped dog of low intelligence, owes back alimony and child support to his ex-spouse. Both men need money and agree to rip off their parents' business, a decision that goes awry and puts both men in various kinds of jeopardy while their mother remains comatose and their father (Albert Finney) lurches along trying to make sense of anything. Writer Kelly Masterson's screenplay employs a perhaps now-overly-familiar time-shifting tactic, jumping around the chronology of the story's events and replaying scenes from different vantage points. The effect is a little tedious but successfully deconstructs the film's drama in a way that shows how such terrible events are directly linked to family dysfunction, old wounds between parent and child, between siblings, that fester into full-blown tragedy. Eighty-three-year-old director Lumet (Serpico) employs bleached colors and scenes of blunt sexuality and violence, adding to the moral rudderlessness and banality of this airless world. If Devil feels a little reductive and insistently grim, it is also a generally persuasive work by an old master. --Tom Keogh

Review
Sidney Lumet s Before the Devil Knows You re Dead is an exceptionally dark story about a crime gone wrong and the complicated reasons behind it. Philip Seymour Hoffman and Ethan Hawke are outstanding as brothers whose mutual love-hate relationship subtly colors their agreement to rob their own parents jewelry store, and more explicitly affects the anxious aftermath of their villainy when their mother (Rosemary Harris) ends up shot. Hoffman s steely, emotionally locked-up Andy, despite pulling down six figures as a corporate executive, is supporting an expensive drug habit while trying to leave the country with his depressed wife, Gina (Marisa Tomei). Hank (Hawke), a whipped dog of low intelligence, owes back alimony and child support to his ex-spouse. Both men need money and agree to rip off their parents' business, a decision that goes awry and puts both men in various kinds of jeopardy while their mother remains comatose and their father (Albert Finney) lurches along trying to make sense of anything. Writer Kelly Masterson's screenplay employs a perhaps now-overly-familiar time-shifting tactic, jumping around the chronology of the story's events and replaying scenes from different vantage points. The effect is a little tedious but successfully deconstructs the film's drama in a way that shows how such terrible events are directly linked to family dysfunction, old wounds between parent and child, between siblings, that fester into full-blown tragedy. Eighy-three-year-old director Lumet (Serpico) employs bleached colors and scenes of blunt sexuality and violence, adding to the moral rudderlessness and banality of this airless world. If Devil feels a little reductive and insistently grim, it is also a generally persuasive work by an old master. --Tom Keogh --Tom Keogh

Customer Reviews

Great
This is a really good movie, you have to pay attention and stay in the room the whole movie...Or pause it if you have you leave the room...

Not awesome...
Wasn't the best movie, wasn't aweful. It was very long, didn't think it would end. Not sure if i would recommend it to people unless they are movie buffs. I guess I had bigger expectations.

Lumet: Still The Master Filmmaker
When I heard aging director Sidney Lumet was attached to BEFORE THE DEVIL KNOWS YOU'RE DEAD, I was dubious about its success. Not because Lumet has any stains on his record! Quite the contrary. With films like 12 Angry Men, Serpico, and Fail Safe to his astounding credit, he is well-known as a vintage director of classic melodramas. But his age (83 at the time this film was made) could've been a factor; old-style filmmaker does old-style job again. But any fears were quickly whisked away once I started watching his latest film.

Not surprisingly, when Hollywood heard the name "Lumet" and that it was involved with a new movie, several bigshots jumped at the chance to be in it. And this was a very good thing. Philip Seymour Hoffman (Capote) heads this all-star melodrama (yes, it's still a melodrama and that's a VERY good thing) alongside Ethan Hawke (Lord of War) and the incredibly sexy Marisa Tomei (Wild Hogs). Forming a kind of triumvirate of misfits, Lumet takes the audience on a wild ride both in terms of how the timing of the film is laid out (jumping from date to date and perspective to perspective) and what each of them is up to. Hoffman turns in another excellent performance as Andy, a man with financial and drug issues and married to the beautiful Gina (Tomei). Gina is lost amidst her husband's distant actions and shut-in existence and finds solace with his brother Hank (Hawke).

Hank is also having financial woes and isn't the brightest bulb in the package. And when his brother Andy (Hoffman) comes to him with a plan to hold up a jewelry store in order to solve their problems, Andy is hesitantly for it ...until he learns Andy's plan is to rob their own parents' store. Store owner and parents Charles (Albert Finney, Tim Burton's Corpse Bride) and Nanette (Rosemary Harris, Spider-Man 3) are completely oblivious to their son's plan and when Hank hires a man to help him rob the store, things go horribly wrong.

It is to Lumet's credit that he spearheads the issues each character deals with and does so without extending it/them into boredom; an area that has plagued many past melodramas. Sexy, dangerous, and frighteningly realistic, Lumet delivers a film that picks up tension as the characters spiral out of control. Even Charles (Finney) isn't immune to the pressures of these horrific events, finding himself making a decision no father should ever be in the position of making.

Again, it is to Lumet's credit that he's not afraid to move with the times and show us he knows what works for audiences. The opening sex sequence will certainly grab many viewers. Lumet also isn't afraid to use new technology in his filming; he's all digital. This speaks to his understanding of how well he sees filmmaking as an art, which includes how light falls onto film versus into the digital 1s and 0s.