family jewels movie reviews

Goldie Hawn, Bette Midler and Diane Keaton Re-Team for ‘Family Jewels’ Comedy

By Dave McNary

Dave McNary

Film Reporter

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Goldie Hawn , Bette Midler and Diane Keaton are starring in the family comedy “Family Jewels” for New Republic Pictures.

It’s a reunion for the trio, 24 years after they starred in the Paramount comedy “The First Wives Club.” New Republic is planning a 2020 production start for “Family Jewels.”

New Republic principals Brian Oliver and Bradley Fischer will produce, along with Alan Nevins. Tracey Nyberg will executive produce.  Fischer and Nevins packaged the project with the three leads and, together with Nyberg, brought in screenwriter Peter Hoare.

“Family Jewels” will center on the characters played by Hawn, Midler and Keaton, who are forced to spend the Christmas holidays together, along with their kids and grandkids, after the man they were all once married to drops dead in a New York City department store.

“The chemistry of Diane, Bette and Goldie is unmatched and irresistible, and I’m thrilled to help reunite them on screen for generations of fans,” said Fischer.

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“This movie fits perfectly in our plan to finance and produce four to six major studio theatricals a year and puts movie stars back where they ought to be – on the big screen,” said Oliver.

Hoare sold his original spec “Down Under Cover” last year to Paramount with Chris Hemsworth and Tiffany Haddish attached to star. He’s the writer on Billy Crystal’s “Standing Up, Falling Down,” which is being released Friday on demand and in theaters by Shout! Studios.

Hoare is repped by Kailey Marsh at Brillstein, and Hayes Robbins at Goodman, Genow, Schenkman, Smelkinson & Christopher. The deal was negotiated for New Republic by Michael Moskowitz with Manatt, Phelps and Phillips.

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The Family Jewels

Time out says, release details.

• Duration: 100 mins

Cast and crew

• Director: Jerry Lewis
• Screenwriter: Jerry Lewis, Bill Richmond
• Jerry Lewis
• Sebastian Cabot
• Donna Butterworth
• Gene Baylos
• Robert Strauss
• Anne Baxter

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• READER REVIEWS

The Family Jewels

Release date.

Jan 1, 1965

As if one Jerry Lewis wasn't enough, The Family Jewels offers no fewer than seven Jerrys. Fans of Lewis will like the film. Others should be advised to steer clear of any and all French film festivals. The plot revolves around nine-year-old Donna Peyton (Donna Butterworth), who stands to inherit 30 million dollars. The catch: Donna must pick a new daddy from her late father's six closest male relatives. Lewis spends most of the film playing family chauffeur Willard Woodward, whom Donna loves above all others. He also portrays snaggle-toothed gangster Bugs Peyton, hirsute sea captain James Peyton, flying fool Captain Eddie Peyton, cynical clown Everett Peyton, Holmes-like detective Skylock Peyton (whose Dr. Matson is corpulent Sebastian Cabot), and photographer Julius Peyton (a reprise of Lewis' Nutty Professor character Julius Kelp). Though fitfully amusing, The Family Jewels is too sloppily put together to completely satisfy anyone other than Lewis' most fervent fans. Best bits: the in-flight movie starring Anne Baxter, the marathon pool game, and Bugs Peyton's outrage at being called a rat fink.~ Hal Erickson, All Movie Guide

Family Jewels

Catherine McGoohan (Lindsay) Bernie Sparago (Clayton) Brian Whitman (Scott) Heather Simpson (Ann Marie) Sparkle (Grandma Nellie) Sofia Milos (Sarah Putanesca) Justin Urich (Spence) Lesley Boone (Evelyn) Ronnie Schell (Bill Taller) Christopher Knight (The Guru)

Tony Mortillaro

A father's retirement is foiled when all of his dysfunctional children simultaneously move back home as adults.

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Dennis Schwartz Movie Reviews

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FAMILY JEWELS, THE

• Post author: eenableadmin
• Post published: August 5, 2019
• Post category: Uncategorized

FAMILY JEWELS, THE (director/writer: Jerry Lewis; screenwriter: Bill Richmond; cinematographer: W. Wallace Kelley; editor: John Woodcock; music: Pete King; cast: Jerry Lewis Jerry Lewis (Willard the chauffeur/Donna’s six uncles), Donna Butterworth (Donna Peyton), Sebastian Cabot (Dr. Matson), Neil Hamilton (Attorney), Jay Adler (Mr. Lyman, Attorney), Robert Strauss (Pool Hall Owner), Gene Baylos (Clown), Herbie Faye (Joe), Milton Frome (Pilot); Runtime: 99; MPAA Rating: NR; producer: Jerry Lewis; Paramount; 1965) “Since I find one Jerry Lewis too much, seven of them was way too much for me to handle.”

Reviewed by Dennis Schwartz

The Family Jewels follows along the lines of the much superior multiple role comedy of Alec Guinness’s eight-role one in the 1949 Kind Hearts and Coronets. Jerry Lewis (“The Bellboy”/”The Patsy”/”The Nutty Professor”) directs, produces, stars and cowrites it with Bill Richmond. The slight plot is carried out in episodic scenes, with some laughter generated but too many skits falling flat in this uneven comedy. Though Lewis puts forth a tour de force performance playing seven roles in disguise, the film seems to drag in spots and it also takes a long time to set up an obvious joke that hardly seemed worth the wait.

The story has the sweet 10-year-old, Donna Peyton (Donna Butterworth), a rich industrialist’s orphaned daughter, pick one of six wacky uncles (all played by Jerry Lewis) to be her guardian. The heiress, set to inherit 30 million dollars, visits each for a two week stay and is accompanied by the family chauffeur, bodyguard and loving father figure Willard (Jerry Lewis).

The uncles include a daffy but kindhearted sea captain; a depressing clown who hates kids and quits the circus to dwell in Switzerland; a spastic photographer of beautiful models; the funniest uncle, a Terry-Thomas like bumbling airplane pilot of a junk plane attempting to take a bunch of old biddies to Chicago; the photographer’s twin brother, a dizzy Sherlock Holmes type of effete private detective assisted by Dr. Matson (Sebastian Cabot), who is a Dr. Watson type; and a gangster uncle who was thought to be deceased but resurfaces to kidnap Donna for the loot. The film’s funniest bit has the gangster uncle take off his ‘funny mask’ disguise to reveal a face even uglier beneath.

Since I find one Jerry Lewis too much, seven of them was way too much for me to handle. It had a workable premise to elicit comedy, which it did at times, but it was slow developing and too much sentimentality seeped through for it to be that appealing, in my opinion, to anyone but diehard Lewis fans and those who might live in France.

REVIEWED ON 7/25/2007 GRADE: C+

Dennis Schwartz: “Ozus’ World Movie Reviews”

© ALL RIGHTS RESERVED DENNIS SCHWARTZ

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AC/DC: The Family Jewels Reviews

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BACK ON DVD & PACKED WITH SPECIAL FEATURES! When a poor little rich girl (Donna Butterworth) is suddenly orphaned, one of her six wacky uncles -- all played by Jerry Lewis -- will be selected as her guardian. The nine-year-old heiress can visit each one, and decide which uncle would be the ideal candidate to take her in. But the selection process won't be easy -- only one of the men is truly, genuinely sincere...and all the rest have their eyes on her $30 million inheritance! A sparkling comedy gem that also stars Sebastian Cabot.

Product details

• MPAA rating ‏ : ‎ NR (Not Rated)
• Product Dimensions ‏ : ‎ 7.5 x 5.5 x 0.5 inches; 2.61 ounces
• Director ‏ : ‎ Jerry Lewis
• Media Format ‏ : ‎ NTSC
• Run time ‏ : ‎ 1 hour and 39 minutes
• Release date ‏ : ‎ January 5, 2021
• Actors ‏ : ‎ Jerry Lewis, Sebastian Cabot, Jay Adler, Donna Butterworth
• Subtitles: ‏ : ‎ English, Spanish
• Producers ‏ : ‎ Jerry Lewis
• Studio ‏ : ‎ Paramount Pictures
• ASIN ‏ : ‎ B08P4PKJJC
• Writers ‏ : ‎ Jerry Lewis, Bill Richmond
• Country of Origin ‏ : ‎ USA
• Number of discs ‏ : ‎ 1
• #11,370 in Kids & Family DVDs
• #16,690 in Comedy (Movies & TV)

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Fallout First Reviews: A 'Violent, Fun, Emotional, Epic' Video Game Adaptation, Critics Say

Critics say prime video's new series benefits from strong storytelling, committed performances, and a deft balance of tone, making it one of the best video game adaptations ever..

TAGGED AS: First Reviews , streaming , television , TV

Fallout is the latest video game adaptation to hit the small screen. Created by Geneva Robertson-Dworet and Graham Wagner , and executive produced by Westworld ‘s Jonathan Nolan and Lisa Joy , the eight episode series, inspired by the hit game franchise from Bethesda Softworks drops on Wednesday, April 10 to Amazon Prime Video.

The post-apocalyptic series stars Ella Purnell as Lucy; Aaron Moten as Maximus; and Walton Goggins as The Ghoul. Joining them is an ensemble cast that includes Kyle MacLachlan , Sarita Choudhury , Michael Emerson , Leslie Uggams , Zach Cherry , Moises Arias and Johnny Pemberton , among others.

With nearly three decades of lore under its belt, the video game franchise has drawn a massive fanbase. Needless to say, there’s a lot of hype surrounding the new series. Does it live up to expectations? Here’s what critics are saying about Fallout :

How does it compare to the video games?

Prime Video’s TV adaptation of Fallout does something the games in the legendary franchise never have—put storytelling above all else. — Bernard Boo, Den of Geek

Fallout is the new standard for video game adaptations. This series is violent, fun, emotional, epic, and just plain awesome. — Alex Maidy, JoBlo’s Movie Network

Opting for a new narrative that simply takes place in the Fallout  world, the series is a mix of adventure and puzzle-box mystery, with more than enough action scenes to satisfy the RPG faithful. It’s fun, and only occasionally overcomplicated. — Kelly Lawler, USA Today

Fallout takes the ideas of the games and crafts its own story in an already interesting world. Nails the satire, the wackiness, and about everything a fan could want. — Zach Pope, Zach Pope Reviews

Bodies fly, heads explode, and video game logic reigns triumphant. — Niv M. Sultan, Slant Magazine

How is the cast?

(Photo by Prime Video)

All of the performances are great; Purnell is a strong, loveably naive lead, while Moten delivers a fascinatingly, sort-of loathsome turn. Excusing the wonderful pooch that plays CX404, aka Four, Goggins is the runaway MVP, an agent of chilly, smooth-talking chaos somewhere between John Marston and Clarence Boddicker. — Cameron Frew, Dexerto

“I hate it up here,” Lucy mutters early on, and given the horrors to which she’s subjected, nobody could blame her. Yet her quest not only involves no shortage of carnage but also insights into her community and its origins, as well as encounters (some relatively brief) with a strong array of co-stars, including Moisés Arias, Kyle MacLachlan, Sarita Choudhury, Michael Emerson, and Leslie Uggams. — Brian Lowry, CNN

The Ghoul serves as the perfect foil for Lucy and Maximus, with Goggins deploying megatons’ worth of weary charisma in his performance as Fallout’ s resident lone wolf, black hat archetype. — Belen Edwards, Mashable

Emancipation’s Aaron Moten and And Just Like That… standout Sarita Choudhury nail the determined, world-weary drive that propels their characters forward while Justified’ s Walton Goggins gives one of his best performances yet as Cooper Howard, a mutated ghoul of a gunslinger who gives everyone a hard time with biting quips and searing bullet work. — David Opie, Digital Spy

How’s the writing and world-building?

The show’s creators have done such an impeccable job fleshing out the world of Fallout that it feels like the characters are treading stories and quests you’ve experienced yourself in one way or another. — Tanner Dedmon, ComicBook.com

Story-wise, Fallout  smartly eschews trying to adapt specific storylines or side-quests from any of the games, but rather concocts a new one set in the rich and familiar landscape. — Brian Lloyd, entertainment.ie

There are plenty of Easter eggs, as you might expect from a video game adaptation, but Fallout manages to make them seem like part of the world, too. It all feels real and believable as pieces of a whole existence that these people have scraped together, which goes a long way toward helping the show’s humor land. Even the Easter eggs feel carefully designed to fit into the world and the lives of the characters, rather than drawing focus away from them or sticking out as a glaring distraction. — Austen Goslin, Polygon

Do the violence and humor work?

It’s strong, it’s goddamn hilarious, and it highlights exactly how to swing for the fences while still knowing where Homebase is. It may be a new series, but Fallout is an instant classic of the streaming age. — Kate Sánchez, But Why Tho? A Geek Community

A bright and funny apocalypse filled with dark punchlines and bursts of ultra-violence, Fallout is among the best video game adaptations ever made. — Matt Purslow, IGN Movies

Finding a tonal balance between the drama and the comedy is a razor’s edge, but Fallout  makes it look effortless. As a result, spending time in this hardened world is as fun, engaging, and engrossing as the games. — William Goodman, TheWrap

It’s an equal parts funny and nightmarish show that, like its protagonist, isn’t content to live inside a projection of the past. — Kambole Campbell, Empire Magazine

Crucially, these laugh-out-loud moments of disbelief don’t detract from the harsh reality of this world, which is perhaps even more violent than you might expect, especially for newbies to this franchise. — David Opie, Digital Spy

Any final thoughts?

Fallout is a clever, twisted apocalyptic odyssey that soars as both a video game adaptation and a standalone series. — Lauren Coates, The Spool

For those who have never played the Fallout series, especially those of the time-strapped ilk who can’t just pour hundreds of hours into a game, they should give Prime Video’s Fallout a go. — Howard Waldstein, CBR

Fallout is both totally rad and an absolute blast. — Neil Armstrong, BBC.com

The show’s clearly committed to being the definitive Fallout adaptation, a love letter to fans, no question, while still opening the vault door to welcome in just about everyone else brave enough to step inside. — Jon Negroni, TV Line

There’s really nothing like Fallout on television right now, and that’s ultimately a good thing. — Therese Lacson, Collider

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Netflix’s most addictive movie of 2024 is now streaming. Here’s why you need to watch it

Thrillers come in all shapes and sizes. There’s the psychological or serial killer thriller, which was popularized in the ’90s by The Silence of the Lambs and Se7en . There’s the erotic thriller, which had its heyday in the late ’80s and early ’90s with such hits as Fatal Attraction and Basic Instinct . And then there’s the action thriller, which is probably the most popular offshoot of the genre right now, with the Taken series and Salt as prime examples.

The story everyone is after

A tense standoff, a killer cast, more than just an effective thriller.

Recently, there’s been a revival of a subgenre that’s been dormant since the 1970s: the journalism thriller. From Nightcrawler with Jake Gyllenhaal to the Oscar-winning Spotlight to 2022’s She Said, this type of thriller usually centers around journalists pursuing a controversial and sometimes dangerous story. One of the best journalism thrillers has just been released by Netflix : Scoop . In chronicling how the BBC managed to snag the scoop of the decade by interviewing Prince Andrew about his connections to convicted sex offender Jeffrey Epstein, the movie manages to be suspenseful, informative, and one of 2024’s most purely entertaining films.

If your memory is foggy, or if you don’t follow royal scandals or the news on a regular basis, here’s the real-life event that Scoop depicts. In late 2019, Prince Andrew was interviewed by British journalist Emily Maitlis about his decades-long relationship with Jeffrey Epstein, a rich American financier who had been convicted of being a sex offender and, that August, had died under mysterious circumstances while in prison.

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The interview was aired on the BBC program Newsnight on November 19 and immediately received worldwide attention for Andrew’s odd explanations for his behavior and unwillingness to show any sympathy toward Epstein’s victims. For example, in response to an allegation that he sweated on an underage girl at a dance club, he asserted that he doesn’t sweat, ever , so that couldn’t possibly be true.

The consequences of the interview were devastating for Prince Andrew. After it aired, he was stripped of his royal titles and receded from public view. The royal establishment took yet another public beating, with some wondering why taxpayer money was funding a member who seemingly partook in illegal activities with Epstein and yet didn’t experience any legal ramifications. Almost everyone, both in the U.K. and across the world, asked the same question: why on Earth would someone as private and protected as Prince Andrew agree to such an interview in the first place?

Scoop is a two-hour-long answer to that question. It starts in 2010 in New York City, when an enterprising paparazzo photographs Andrew and Epstein together walking in Central Park, establishing a clear and public link between the two men. That picture is remembered by Sam McAlister (Billie Piper), a talent booker for the BBC, who smells a story developing with Epstein’s ongoing trial, subsequent conviction, and eventual death, which puts pressure on Andrew to address his controversial association with the sex offender.

Scoop presents two sides of the story: the BBC journalists, represented by McAlister, Maitlis (Gillian Anderson), and editor Esme Wren (Romola Garai); and the Royal Family, who, aside from Andrew (Rufus Sewell), is almost entirely run by Amanda Thirsk (Keeley Hawes), who is torn between duty and a gradual realization her boss is a sleazebag.

As we see the two sides circle each other warily, the movie’s director, Philip Martin, never lets up on the tension felt both within the opposing ranks as well as when they intermittently meet to decide on if, when, and how the interview will take place. It’s genuinely thrilling to see McAlister chase her story and for the other journalists to pick up the baton after her part is largely finished. As the interview is set up, Maitlis wryly observes that it feels like she’s going to a gunfight in an old Western movie. And that’s what the interview comes down to: two people facing each other, one armed with facts and the other with a ludicrous defense and a complete lack of awareness that he’s done anything wrong.

This kind of thriller doesn’t work if you don’t have a great cast, which is why Scoop is so effective. Anderson continues to add to her already impressive resume as Maitlis, who has to navigate the fine line between respecting the institution she’s investigating and getting answers to questions everyone in the nation has been asking for years. When Andrew casually wonders why everyone is so interested in his relationship with Epstein when he’s far better friends with Jimmy Savile (a DJ who was also a sex offender), Anderson gives an incredulous look to her producer that’s at once very funny and incredibly revealing. She can’t believe this guy is so delusional about the serious situation he’s in, and she uses that knowledge in her interview to let Andrew symbolically hang himself with his own rope.

It’s Piper, though, who impresses the most as McAlister. Armed with leopard print boots, bottle blonde curls, and a don’t-mess-with-me attitude, she sticks out among her conservative BBC peers, but it’s precisely her outsider status and her willingness to chase after a story when no one else dares to pursue it that makes her such a great character to follow. She’s the only one that Scoop allows us to see at home, where she confides to her mother about wanting to be seen as important and tries to guide her teenage son through the first pangs of romance.

Piper is probably best known in the U.S. for her work as the companion Rose Tyler on Doctor Who , but she’s quietly put together an impressive CV with standout performances in The Secret Diary of a Call Girl , Collateral , and I Hate Suzie . In Scoop , she leads an ensemble with an authority and brassiness that only a star could deliver. Scoop is revelatory in many ways, but perhaps its biggest shock to most audiences is just how good Piper is and how good she’s always been.

Like all good thrillers, Scoop is more than its subject matter. While it faithfully and expertly re-enacts the lead-up to, and quick production of, the interview with Prince Andrew, it also poses intriguing arguments about the state of journalism and the culpability of public figures to own up to their past sins. Everyone knows and respects the BBC, but that doesn’t make it profitable or competitive with other news outlets and social media, and it’s this conundrum — the need for relevance while still preserving a brand of integrity — that drives many of Scoop ‘s characters.

In addition, Scoop is in many ways a sister to Steven Spielberg ‘s The Post and She Said , to other movies about the need for journalism to hold public figures like Richard Nixon, Harvey Weinstein, and yes, the Royal Family, accountable for their actions. It’s not wrong to categorize Scoop as a thriller — its slick direction and propulsive score by Anne Nikitin and Hannah Peel more than supports that justification — but it’s also a great movie about the value and necessity of a free press in the 21st century. Who knew a dramatic retelling of a five-year-old interview could be so thrilling to watch and so rich to think about?

Watch Scoop  on Netflix now.

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Have you binged through Ripley yet? Or watched all of the most popular movies on Netflix this week, which include such diverse pictures as the action movie The Heart of the Hunter, the addictive, ripped-from-the-headlines thriller Scoop, or the Denzel Washington movie The Little Things?

Well, have no fear, this list is just for you. Digital Trends has curated a selection of three underrated movies currently streaming on Netflix that are worth your time and attention this weekend. One is a well-written true-life tale about skiing, poker, and crime (yes, really), another is a sci-fi romance from the '80s, and the last one is a modern remake of an old Clint Eastwood movie.

Netflix continues to build an impressive library of action films. Whether you're interested in violent action films (The Equalizer, Extraction 2, The Outpost) or sci-fi action (The Hunger Games, 65, Looper), Netflix has multiple genres to choose from to satisfy your action needs.

Scrolling through Netflix can be daunting, especially if you don't know where to look. For April, we curated a list of three action films you need to watch. Our selections include a bloody revenge saga, a prison neo-noir, and an action thriller starring one of Hollywood's biggest names. Kill Bill: Volume 1 (2003)

As we head into the middle of April, the TV rankings on Netflix are a bit unusual. Ripley has fallen off quickly after debuting last week, while original series from March, like 3 Body Problem and The Gentlemen, are still among the most popular shows on Netflix. They've just been eclipsed by unheralded series like Files of the Unexplained and Parasyte: The Grey.

This week, Netflix has added an animated revival of Good Times, as well as a British drama/comedy called Baby Reindeer. That's not a bad way to go into the weekend, but we're still holding out hope for some stronger Netflix originals before the month is over. In the meantime, keep reading for our complete roundup of the best shows on Netflix right now.

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Spy x Family Code: White

After receiving an order to be replaced in Operation Strix, Loid decides to help Anya win a cooking competition at Eden Academy, by making the director's favorite meal in order to prevent hi... Read all After receiving an order to be replaced in Operation Strix, Loid decides to help Anya win a cooking competition at Eden Academy, by making the director's favorite meal in order to prevent his replacement. After receiving an order to be replaced in Operation Strix, Loid decides to help Anya win a cooking competition at Eden Academy, by making the director's favorite meal in order to prevent his replacement.

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Critic’s Pick

‘In Flames’ Review: A Patriarchy Horror Story

Set in Pakistan, the story of a young woman and her family, hemmed in by men, shifts from realism to genre, with heart-pumping consequences.

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By Alissa Wilkinson

It takes about an hour for “In Flames” to reveal itself as proper genre horror, but trepidation lurks from the start. In Karachi, Pakistan, the 20-something Mariam (Ramesha Nawal) lives with her widowed mother, Fariha (Bakhtawar Mazhar), and her younger brother, Bilal (Jibran Khan), who’s mostly glued to his video games. The family has been financially dependent on Fariha’s father-in-law, but as the film opens, he has just died — and Fariha’s brother-in-law, Uncle Nasir (Adnan Shah Tipu), is suddenly very interested in the relatives he had been neglecting.

Fariha teaches at an elementary school, and Mariam is studying for exams that will qualify her to be a doctor. They’re smart, capable women who are less concerned with dismantling established social orders than they are with keeping their home and family intact. Yet their lives are hemmed in by the men around them, with a constriction that’s suffocating. For one, there is Uncle Nasir, who has offered to pay the family’s outstanding debts if Fariha signs some documents, which Mariam pleads with her to avoid doing. But there’s also the man who throws a brick through the car window when Mariam is driving to the library, calling her a whore. Or the man who lurks outside her window, masturbating. Or even the nice young man from the library, Asad (Omar Javaid), who won’t leave Mariam alone.

As the women scramble to save their home, the walls close in on them, and that’s the point: “In Flames,” a confident feature debut written and directed by Zarrar Kahn, is one of several recent films from around the world that frame patriarchy as a nightmare. The most recent may be “ Shayda ,” set in Iran, but even movies like “Poor Things” and “Promising Young Woman” play with the same idea, albeit with a lighter touch. This one is set in Pakistan, in the midst of debates about religious fundamentalism and gender roles, but the outlines are familiar even to audiences in very different circumstances. Men commit obvious, blatant offenses, confident the system is stacked in their favor. But even the “good guys” are locked in a culture that rewards them for refusing to listen to the women who, it’s made clear, are holding the country together.

That means the horror extends to the male perpetrators, who couldn’t find their way out of the maze of unjust systems if they tried. But there’s no question the women bear the brunt of it, whether the perpetrator is abusive, or greedy, or just clueless. To seek help is fruitless, and dangerous; being in debt to yet one more man is another way to put yourself at risk.

Kahn manages to assemble the story in a way that escapes feeling like a series of object lessons. He centers the story on Mariam, giving Nawal’s expressive eyes plenty of time to convey emotions she dares not speak aloud. Mariam’s environment signals her inner life. Sometimes the character is in claustrophobic interiors, where she can’t escape others’ prying eyes; sometimes she’s blessedly alone; and sometimes she’s experiencing brief moments of respite in expansive, beautiful scenery. She feels a pull between the freedom she craves and the responsibility she feels to her family. Technically, Mariam is a plucky heroine. But she isn’t rebellious, or even defiant. She’s just trying to survive.

Wisely, Kahn creates a world in which Mariam and Fariha cannot help but be pulled apart, ruptured by the patriarchy’s force. The only way for each to endure is to depend on yet another man to help them, which has profoundly middling results, and an element of always-present danger. When the film finally gives way to full horror, the pace picks up, and we see what the movie’s been doing all along. Oppression isn’t always blatant, and it isn’t the work of individuals acting alone. It comes like night terrors, paralyzing both oppressor and oppressed — and escape can require drastic action.

In Flames Not rated. In Urdu, with subtitles. Running time: 1 hour 38 minutes. In theaters.

Alissa Wilkinson is a Times movie critic. She’s been writing about movies since 2005. More about Alissa Wilkinson

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The Family Jewels

2003, Comedy/Drama, 1h 24m

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The family jewels   photos.

Genre: Comedy, Drama, Romance

Original Language: German

Director: Robert Schwentke

Writer: Robert Schwentke

Runtime: 1h 24m

Production Co: Arte, Odeon Films, Moneypenny Filmproduktion GmbH

Cast & Crew

Wotan Wilke Möhring

Martin Schwarz

Janek Rieke

Antoine Monot Jr.

Julia Hummer

Alexander Beyer

Roman Schwarz

Marie Gruber

Gabriele Schwarz

Thomas Thieme

Hans Schwarz

Doris Schretzmayer

Schwester Elke

Fatih Cevikkollu

Götz Schubert

Dr. Bofinger

Leander Haußmann

Robert Schwentke

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