Who’s fine? No one really but we all knew that right? Where does politeness stop and uncomfortable truth begin and what are the considerations we make before burdening someone with the unvarnished truth? Everybody’s Fine ponders these things in a somber and intelligent way that belies its generic holiday movie poster.
Robert De Niro plays Frank an aging widower who spends his lonely days keeping his empty nest tidy and its surrounding foliage immaculate in the way the retired tend to do. He feels intensely the absence of his four grown-up children since the recent death of his wife and when they all back out of a planned holiday gathering at the family home he decides to pack up his bag and travel across the country to see each one as a surprise. As he goes from home to home he begins to realize some uncomfortable truths about the relationship he has with them and even worse that there’s a bigger secret they’re all hiding.
This is a remake of a 1990 Italian film Stanno Tutti Bene the follow-up to director Giuseppe Tornatore’s triumphant Best Foreign Language Film Oscar winner Cinema Paradiso. The American interpretation is written and directed by Kirk Jones who previously showed a knack for arty yet accessible films with Waking Ned Devine which like Everybody’s Fine manages to successfully navigate that oh-so-thin line between saccharine sentimentality and genuine emotional resonance. Unlike Devine Everybody’s Fine has no comedic spoonful of sugar to make the discomfort of an all-too-real family dynamic go down.
De Niro’s portrayal of Frank comes almost as a relief. After a lifetime of loud and brusque characters he settles into the retiree part like a comfortable old pair of slippers. Frank is easily as conflicted as any other person De Niro has played but in a much quieter way -- a dad sorta way. De Niro so entirely and naturally becomes Frank that it’s hard not to project your own feelings toward your father onto him. And I suppose that is the point.
Frank’s children are played by Kate Beckinsale Sam Rockwell and Drew Barrymore who are given just enough development to explain their estrangement from their father -- but that’s all the roles require. They’re loosely defined enough for the audience to hopefully identify with at least one of them but only in the service of laying familial guilt at our own feet. It’s De Niro's eyes the audience sees through; it’s his movie and he owns it.
Everything eventually leads to that question of whether or not to trouble the ones we love with our bad news. Everybody’s Fine is relatively taciturn with its conclusions but offers an important suggestion to consider the matter more closely in the audience’s own lives. And isn’t that what good art should do? This may not be the most uplifting film one could see this holiday season but it is one of the more thoughtful ones. Between the simple effectiveness of De Niro’s performance the lovely cinematography of Henry Braham (it is sort of a road-trip movie) and the interesting questions it raises Everybody’s Fine is a terrific choice for those who want something more in-depth from their Xmas viewing than tinsel and tired sentimentality.
The Crusades were a series of religious wars in which the Christians tried to reclaim Jerusalem from the Muslims who had conquered the Middle East in the 7th century. With the battle cry of "God wills it! " thousands of Europeans answered the call and were able to retake the fabled Holy City in the 11th century. Kingdom of Heaven begins in 1186 between the Second and Third Crusades. A fragile peace prevails mostly through the efforts of Jerusalem's enlightened Christian king Baldwin IV (Edward Norton) and the military restraint of the legendary Muslim leader Saladin (Ghassan Massoud). But it's difficult to maintain the peace. There are extremists within the Christian brigades--known as the Knights Templar--who want to wipe every Muslim off the face of the Earth. On top of that King Baldwin's health is failing. Once he's gone war is sure to follow. If ever there was a need for a hero this is the time. Enter the young French blacksmith Balian (Orlando Bloom) who is in deep despair over the loss of his family. He joins the Crusades after the father he never knew Godfrey (Liam Neeson) comes back from Jerusalem and convinces him it's a quest worth fighting for. As Godfrey passes his sword to his son he also passes on that sacred knightly oath: to protect the helpless safeguard the peace and work toward harmony between religions and cultures so that a kingdom of heaven can flourish on earth. No pressure or anything though.
Orlando Bloom carries his first major motion picture very well easily handling the chores of being such a gallant conscientious and morally upstanding knight. As Balian the Troy costar plays the gamut. He broods over his lost wife and child has father-son epiphanies upholds his knightly duties on a regular basis falls in love with a beautiful but troubled princess and finally bravely defends the Holy City from the encroaching Muslim army thus becoming a legend. Not bad for a day's work eh? There are even times especially toward the end when Balian is standing before the denizens of Jerusalem urging them to fight when you swear you can see a little of Bloom's The Lord of the Rings alter-elf Legolas creep in. The supporting cast also does an adequate job painting a picture of some trying times. Chief among them: Jeremy Irons as King Baldwin's right-hand man Tiberias; Marton Csokas (The Bourne Supremacy) as the evil leader of the Knights Templar; Massoud as the great warrior Saladin; and lovely Eva Green (The Dreamers) as Princess Sibylla King Baldwin's sister who captures our hero's heart but makes some bad choices with dire consequences.
Even if these sword-and-armor epics are all blending together you've got to give props to the directors who make them. These films are massive undertakings and Kingdom of
Heaven with the expert Ridley Scott at the helm is no exception. The Oscar-winning director of course has had his fair share of recreating history first with the classic Gladiator and then with the contemporary Black Hawk Down. But in recreating the Crusades Scott faces his toughest challenge to date and takes on the responsibility very seriously. He is painstakingly meticulous with details even as he is building a 12th-century Jerusalem or corralling 2 000 heavily costumed extras for the colossal climactic battle sequences. And it is always a good thing when a historical film can teach you something you may not have known like what the heck the Crusades were really all about. No Kingdom's biggest obstacle is timing. While it certainly has more substance than Alexander it is not nearly as intense and stirring as The Lord of the Rings trilogy or the granddaddy of them all Braveheart. Too many of its ilk has come before and the concept has unfortunately worn thin.