ANIMAL KINGDOM is one of the best films of the year

Animal Kingdom, the award-winning Sundance favorite, is about a young teenager’s survival in a family of dysfunctional sociopaths, headed by the diabolic, ringleader mother. The film opens with the main character, “J” (Josh), calling an ambulance for his biological mother who overdosed on heroin. He passively observes the paramedics checking his mother for vital signs, while glancing back and forth at the television program. Initially, the audience senses that the youngster is desensitized to a corrupt lifestyle. He calls his grandmother, Janine, played by Jacki Weaver, and is deceptively welcomed with open-arms to live with her and his four uncles, all of whom are born and bred criminals. Animal Kingdom has been labeled as a crime movie, but it’s much more than that. Sure, it touches on classic criminal celluloid, such as cops, robbers, drug dealers, corruption, but mostly it’s about a bizarre family of criminals and the lost child trying to survive his teenage years as normally as possible. His only living proof of a normal existence is his teenage girlfriend, Nicky, whom he attaches himself to. After an act of violence occurs between the cops and one of his uncles, he spends more time at Nicky’s parents’ house, hoping to become accepted into their family. Substitute parenting is an important theme in the film. When two cops windup dead, J becomes the prime target of an investigation, headed by the incredible, Guy Pearce. At this point, the teenager becomes a threat to his own family and a victim of terrible circumstances. The film is crafted in a subtle manner, but the threat of danger is ever present. The writer and director, David Michod, has a keen sense for building tension; the film works by the absence of pretentious camera movements and an overwhelming score. The filmmaker brings as much realism to the scenarios as possible, saying, that these vicious crimes are committed by ordinary people, some of whom are posing as law-abiding officials. This is a modestly-budgeted film, meaning that most of the camerawork is handheld. Now, even though I am a big fan of stylish films with kinetic camerawork, it doesn’t mean it always works for the story. The writer/director of Animal Kingdom is very aware of what kind of style is best suited for this juicy story. I was reminded of other recent Sundance hits, such as Winter’s Bone (2010), Sin Nombre (Without a Name-2009), and Frozen River (2008), where the conflict of the central character was organically thrilling to the narrative, and the film as a whole. Gritty realism can easily out-win pretentious style, especially when the filmmakers know they have a compelling story to tell. The primary reason I loved Animal Kingdom was because there was so much psychological and sociological depth to the family portrayal. Pay careful attention, and you’ll notice how the profound elements are nicely interwoven in the subtext of the performances and direction. The film lured me into the young teenager’s dilemma. I sympathized with his emotional pain and empathized with his own violent tendencies, which ironically mimic the criminal lifestyle he was trying to escape. Jacki Weaver gives a riveting and layered performance as the conniving, mama-knows-best ringleader. Her devilish, on-screen presence is reminiscent of Bette Davis in Whatever Happened to Baby Jane (1962) or Ruth Gordon in Rosemary’s Baby (1968). She is absolutely sizzling! Animal Kingdom builds to a jaw-dropping conclusion, an unexpected sucker-punch to the face, and it’s a knockout! This is one of the best films of the year and not to be missed. **** (out of four stars)