The Brothers Bloom


Action / Adventure / Comedy / Drama / Romance

Rotten Tomatoes Critics - Certified Fresh 66%
Rotten Tomatoes Audience - Upright 64%
IMDb Rating 6.8 10 43774


Uploaded By: OTTO
Downloaded 31,098 times
November 19, 2012 at 12:05 AM



Joseph Gordon-Levitt as Bar Patron
Rachel Weisz as Penelope
Mark Ruffalo as Stephen
Adrien Brody as Bloom
720p 1080p
750.27 MB
23.976 fps
1hr 54 min
P/S 2 / 3
1.70 GB
23.976 fps
1hr 54 min
P/S 2 / 23

Movie Reviews

Reviewed by jaredmobarak 9 / 10

TIFF 08: An unwritten life…The Brothers Bloom

While the complete polar opposite of Brick, Johnson left the Dashiell Hammett prose and instead decided to delve into Wes Anderson territory. His The Brothers Bloom is a smart, witty adventure that takes some unexpected turns on its journey, never lets a detail fall into obscurity, and shows that if nothing else, he is a high caliber storyteller that should be around for a long time, not rehashing the same thing over and over again, but churning out refreshingly new and unique yarns to entertain and enlighten.

This tale is about a duo of con men—the best in the world—who reunite to do one last job. The younger, Bloom, has been playing the roles written by Stephen since they were children, always embodying the character so easily because it allowed him to be that which was not himself. After having fallen in love with too many marks, only to watch as they swindled and left them out to dry, Bloom is ready to quit and goes into self-imposed exile for three years until his partner finds him and rounds him up for one last big score. That score involves an eccentric shut-in, a woman who has never left her mansion and collects hobbies in order to entertain herself. A master with a deck of cards, juggler extraordinaire, harp player, and ping-pong champ, amongst other activities, there is little she does not know. This epileptic photographer is anxious to go off on an adventure and opening up to the Brothers Bloom is her perfect opportunity to do so, and their best chance at an easy million dollars.

What the men did not account for was her inexhaustible sense of enthusiasm and uncanny knack for the con game. Getting herself out of situations that the brothers can't even fathom and catching on to things so quickly, it's as though the mark becomes the professional, however, that is exactly Stephen's plan. She is a woman of intelligence, beauty, and unique without compare. Penelope is exactly the girl that Bloom has been looking for, but of course, she is discovered in one of Stephen's stories, accessible only until they must cut her loose. Yet, here comes the first "what if" of the film. What if our orchestrator has concocted this all for Bloom, a con on a grand scale in order to give him the life he always wanted? Bloom does say that Penelope feels just like one of Stephen's characters, but as he says in his defense, "the day I con you, is the day I die." We can only hope those words don't become prophetically true.

Johnson weaves an intricate shell game for his characters to roam through, crossing paths, discovering secrets, telling lies, and possibly conning each other. No one truly can tell what's real because not only are they unsure themselves, they know that every one of them has the potential to make-up an elaborate scheme to confuse and manipulate. Ruffalo is the true artist at this game, crudely drawing up a plan of attack in brainstorm bubble trees, thinly veiling his tales with inside jokes that a woman like Penelope (Weisz) is well-informed enough to see through, yet too naïve to put together. Straight from the start, a childhood narrated by Ricky Jay, these boys have gotten what they wanted and planned to perfection. Trained by the nefarious Diamond Dog, the men, (Brody portraying the other, Bloom), have eclipsed their master and took the world by storm. Along with their pyrotechnics guru Bang Bang, (Rinko Kikuchi) and a select cast of regular actors (Robbie Coltrane as the Belgian and a great string of cameos in a bar scene early on with Nora Zehetner, Noah Segan, and a blink-and-you'll-miss-him Joseph Gordon Levitt all showing some Brick love), the boys always get what they want. Ultimately attempting to create the perfect con—so well planned out and airtight that it happens all by itself—this con becomes reality and everyone gets exactly what they wanted.

The Brothers Bloom is told in a storybook fashion with bright colors and in-focus frames. Johnson jam-packs each composition with detail upon detail, never shying away from having an important plot point occur in the background, behind a conversation or action by our leads at the forefront. Most times they are jokes, lending some levity to the situation, one that becomes ever more dark as the charade goes along; unexpectedly dark, yet perfectly so. His use of humor infuses a heart into the proceedings and a true bond and relationship between Stephen and Bloom, two men that learn to hate each other at the end of a job, but always come to the others help when needed at the start. You must be diligent to the environment surrounding our actors, as it is just as much playing a role as they, helping a truly bold and intricate story be disguised as a simple one. Very slight on first appearance, it is the fact that it's so well told that makes it seem simpler than it really is. Without any bloated superfluities or weakly handled tangents, this tightly woven tapestry lives on its own at a breakneck speed, culminating with a spectacular final twist, an end that had been building up right from the start in that bourgeois playground during the boys' foster home placement. The Brothers Bloom look out for each other and never let the other down, no matter what damage it may cause to themselves. In the end, they do it all for their brother, anything they can to make the other's life a success.

Reviewed by Scott-101 5 / 10

Beautiful film that just doesn't add up

The Brothers Bloom, dir. Rian Johnson-The film had some very good elements: -The visual look was terrific. I wasn't sure if it was a period piece or it was set in the late 2000's, because there was a definite lack of cell phones and other modern day aparatuses in the frame. It was very retro, yet very much in the present -Rachel Weicz was such a fascinating character. How could a woman that beautiful and rich be so lonely? Weicz manages to pull it off. An absolutely amazing performance and kudos to her for learning all those talents (apparently she had to learn all those talents) -Some of the dialogue was exceptional. Penelope's speech about reinventing her life and refusing to see her loneliness as a weakness was definitely thought-provoking.

At the same time, the film on the whole didn't make any sense. It was too many twists to the point where you just didn't care what was going on screen because none of it was real and there wasn't much suspense to convince you that the film might have been heading in any other direction. It would have always made more sense for Adrian Brody's character to just marry Penelope and inherit her fortune.

Reviewed by Andrew DiMonte (NoArrow) 6 / 10

Tragically close to being good

"The Brothers Bloom" is a movie stock full of great ideas that it executes without any apparent knowledge of what makes a movie work. It's filmed in some of the most beautiful places in the world and captures them blandly. It's step-by-step full of great con-games that we don't care about. It's got one of the most interesting heroines in years that it ultimately leaves to the side, unaware of how to use her. It's constantly suggesting great artists (Melville, Dostoevsky) and it's opening act - a Ricky Jay-narrated history of the Brothers Bloom's humble beginnings - promises greatness. But the movie doesn't deliver.

The story: Mark Ruffalo and Adrien Brody started conning as children, and never stopped, and now, as adults, they're locked together like the siblings in "Les Enfants Terribles," only capable of inhabiting their own world of deception and whimsy. Ruffalo's the head and likes it that way and Brody's the heart and wants out, wants to find happiness somewhere else, in the "unwritten life." Ruffalo sets up One Last Job for the two of them, and the mark is Rachel Weisz (the heroine), a reclusive millionaire and collector of hobbies. As this is a con-movie, any further explanation is unnecessary.

Rian Johnson, the film's director and director of "Brick," has fine taste, as he flaunts constantly, but his movies are an argument that good taste does not a great artist make. Like the lowliest imitator, he wants to do something like his favorites, but he hasn't put much thought into why those movies worked on him. "The Big Sleep" has the period dialogue, the shadows and all that, but it's great because of the chemistry, the mood, what's happening under the surface. "Brick" has no mood, it's all surface, all words and cinematography, a truly empty film. With "The Brothers Bloom," Johnson is trying to make "The Sting" by way of Wes Anderson, the French New Wave (and a little David Mamet), but mostly misses the comedy of Anderson, the style of the New Wave and doesn't even come close to the metaphysical suspense of a Mamet film.

For instance: Ruffalo has a sidekick/girlfriend played by Rinko Kikuchi. Her name is "Bang Bang" because she likes explosives, and she doesn't speak a single line of dialogue. This alone is gimmicky enough, an easy way of forging a Character without thinking for a second who she might be. The movie explains she just up and appeared to the Brothers one day, and will disappear, one day, in the same fashion. So she's an almost supernatural character, I guess, but to what purpose? Quirkiness? Kikuchi eats up the attention in any scene she's in, simply because we want to know more about her, but Johnson insults her and the audience by keeping her a prop, like the hamburger phone in "Juno." In one Emotional Montage at the end, she sings, which would be a great moment in a better movie but here is handled so off-the-cuff and casually we just sort of shrug it off. A couple short scenes later she disappears into thin air in front of Brody, so we think, that was it? And then she pops up again, to do nothing, and disappears again. Johnson doesn't seem to be thinking at all.

But he might fool you. The dialogue is finely-honed, but too much so, it becomes awkward, clunky, speaking to ideas Johnson hasn't completed rather than ones the characters are having spontaneously. The movie really, really wants to be as dialogue-driven as a Mamet movie but falls short in its excess of artifice and complete lack of wit. That said, Brody, Weisz and Ruffalo create likable characters simply by appearing on screen; they're all such great actors we're almost happy enough just to watch them have some fun. Weisz especially, her eccentric is so convincing at times it makes the movie's shortchanging her so much more troubling. Her character is built up to have a mystery about her, something intriguing seems to lie beneath the surface, but as it goes on we sadly realize that's more to do with Weisz's skill and less to do with Johnson's writing.

The plot keeps going and going and going, the movie feels twice as long as "The Dark Knight" and about a quarter as interesting. There's a con, and then there's another con, and then another, and they're all pretty well thought-out except that the outcomes don't mean anything to us because Johnson hasn't spent enough time figuring out who his characters are, and what we want for them. Brody is frustratingly ineffectual, and Ruffalo convinces us he knows all the answers, he just never tells us what they are. Robbie Coltrane and Maximilian Schell pop up, Schell with an eye-patch and a drama-class-level costume, and do nothing.

And then there's the last revelation, and the ending, which could've been beautiful and poignant, if only Johnson had any idea how to take us there. He doesn't. His head's in the right place, he just needs to use it more, and – most importantly – discover his heart. Not a bad movie, just not one worth seeing.


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