The Brother’s Bloom

By Clint Morris

Writer/Director Rian Johnson’s follow-up to to the marvelous “Brick” is a bit like a Quiche – mightn’t look like much on the outside, but inside it’s absolutely delicious.

It’s uncommon for all the elements of a film to come together – performances, story, direction, composition, costume, location, writing, editing, lighting, sound – but in the case of “The Brothers Bloom” they most certainly do. Here’s a film that’s even smarter than it’s ingeniously deceitful title.

A sort-of “Ocean’s Eleven” meets “The Grifters” by way of “The Sting”, the three-hander centers on two con-artist brothers (Mark Ruffalo and Adrien Brody), the best in the business, on their lost job. Ya see, younger sibling Bloom (Brody) has decided enough is enough, but shady big brother Stephen (Ruffalo) convinces him to do one last job – one that’ll set them both up for life.
The last gig involves showing beautiful accident-prone heiress, Penelope (Rachel Weisz) around the world – from Jersey to Prague – in pursuit of priceless artifacts.

Like “Brick”, you won’t have to spend all your time deciphering what’s ‘real’ and what’s not about the central con either because there’s no time to think- it moves faster than a cheating husband caught out of the back of a brothel. And yeah, just as sneaky.

This is a brilliant piece of cinema – in fact, I’d go so far as to say it’s one of the best films of the past decade. Johnson proved with the tweenage murder-mystery “Brick” that he’s not only got a great imagination, but a knack for keeping audiences engaged and riveted, as well as constantly surprised. “Bloom” goes one better – it’s smart, it’s riveting, and it’s surprising, but it’s also a film that fails to fit comfortably into one genre, let alone appeal to only one demographic. It’s an instant classic.

Johnson’s funny, thrilling and very original script, and his immaculate direction, is the star of the show, but headline acts Ruffalo, Adrien Brody and Rachel Weisz, ever so adorable here, are just as on the ball. Weisz especially, playing the mysterious and irresistible klutz of the team, gives a remarkably astonishing performance. Keep an eye on the Oscar Nominations early next year.

There’s a green tick against each aspect of the film, though – the locations are exquisite, the cinematography is breathtaking, the pacing is tight and effective, and the production design is ace.

In fact, the only thing wrong with “Brother’s Bloom” is that it’s taken over a year to come out. While mediocre flicks, like say “The Mummy : Tomb of the Dragon Emperor” and “Dragonball”, seem to be shot, wrapped, edited and released within the space of a year, Johnson’s had to get to the end of the line – unable to release his masterpiece until the studio sees fit.

It probably goes back to something a fellow producer told me recently (in regards to a film of mine), If it “hasn’t got special effects or Seth Rogen in it, the studio doesn’t much care about it”. Sad, but very true. Just look at the treatment ‘good’ films like “Fanboys”, “Crossing Over”, “[REC]”, “Killshot”, “Rescue Dawn” and now “Bloom” have received; they’ve all been so severely punished by their own industry that they’re showing bruises. It’s unfortunate that audiences don’t’ go to ‘good’ films like these – films with a solid story, terrific acting, and precise direction – and even more unfortunate that studio’s know that, and don’t care.

Go against the fucking grain, check out the best film of the year!

Extras

A short featurette and some deleted scenes, with commentary by Johnson.