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Director: Boaz Yakin Stars: Jason Statham, Catherine Chan, Chris Sarandon. Coming to her aid is an ex-cage fighter whose life was destroyed by the gangsters on Meis trail. Peter Travers’ new book, “1,000 Best Movies on DVD” is available now. About Press Copyright Contact us Creators Advertise Developers Terms Privacy Policy & Safety How YouTube works Test new features NFL Sunday Ticket Press Copyright. Mei, a young girl whose memory holds a priceless numerical code, finds herself pursued by the Triads, the Russian mob, and corrupt NYC cops. But only in the compassionate eye of the Dardennes do these three children achieve a state of grace.
Renier and Francois give deeply affecting performances that help soften the film’s harsh blows. Using a hand-held camera, the Dardennes - with a documentary rigor that recalls Robert Bresson’s classic Pickpocket - follow these lovers as they try to find a moral ground in a world that cuts them no slack. Two young brothers strive to create, produce, and market nothing short of an Eisner Award winning comic-book series based on the notion that their father, when not plodding at his mundane dayjob, is secretly a pickpocket. When Bruno sells the baby on the black market, Sonia is driven to desperation.
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Neither has a clue about how to raise the child in the poverty of their Belgian steel town. L’Enfant refers to Jimmy, the baby born to Bruno (Jeremie Renier), a petty thief, and his eighteen-year-old girlfriend, Sonia (Deborah Francois). There's something too facile and cute about Fox that one automatically suspects it was the foundation of his Alex Keaton character, and it gets in the way when he tries to be "sincere," as in "Casualties of War." Yet the camera also responds to his essential decency and he's able to convince as he shifts from goniff to caring guy.Winner of the top prize at the Cannes Film Festival, L’Enfant is a forceful, impassioned and unsparing triumph from Jean-Pierre and Luc Dardenne, the Belgian brothers acclaimed for writing and directing La Promesse, Rosetta and Le Fils. Fox is able to deploy his doubleness in the role adroitly - that is, his essential decency and his essential slipperiness.
Of course Fox himself was a wildly successful child star, and he's one of the few who has apparently managed to transfer that success more or less intact into adulthood. It’s how we ended up with Pickpockets, a Netflix original film from Colombia about a pair of teens in Bogota who get by as small-time crooks and thieves.
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Fox's Mikey Chapman is a former child star now fallen on hard times himself and turned into a seedy hustler at the margins of the business. Professional pickpocket Lee Thompson looks at 12 pickpocketing scenes from popular TV shows and movies and rates them based on realism. In a sense Fox is facing his own darker regions. He's like the Tyrannosaurus in "Jurassic Park," a lizard king on a rampage, and he's very funny.
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He knows he's basically supporting Chapman & Chapman, Fox's foundering agency, and that knowledge plus his high earning capacity, has turned him into a brazen monster-child, imperious, oleaginous, self-important, preternaturally mature and not a little frightening.
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For that reason the one truly compelling and enduring character in the film is David Krumholtz's Barry Corman, a 12-year-old known as "The Cereal King" because he can smile with a mouth full of disintegrating, milk-drenched Corn Slag and beam satisfaction from his otherwise ratty little Roy-Cohn-on-a-bad-day eyes. One senses that writer Marc Lawrence, director James Lapine and possibly even star Fox aren't nearly as interested in the emotional mulch as they are in more savage matters. But it soon squanders it as it goes for the goo. The film does contain the germ of a potent idea: that show business attracts incomplete people who yearn to find in the love of an audience the love they lack in private, and it does a convincing job in portraying these crippled souls and their yearning. She's offered as yet another Curly-Sue, one of those Damon Runyonesque wild girls of the streets who is tamed of her kleptomania by gobs of love.
In truth, this plot works, particularly in the texture of the relationship between Fox and his discovery, a marvelous and poignant child actress named Christina Vidal, who manages to overcome the sentimentality with which her character has been conceived. Its subtext becomes its text, and that's the usual dramatic arc of our touchy-feely decade - you know, the one about dysfunctional people healing themselves and each other through love, and then becoming whole again.
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Of course no large commercial movie could be made with so hard an edge, so "Life with Mikey" pulls back and eventually goes soft.
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