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The Family Fang review: Quirky dramedy has welcome surprises

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Trailer: The Family Fang

Adult siblings Baxter and Annie, scarred from an unconventional upbringing, return to their family home after their parents suddenly go missing under troubling circumstances.

★★★

One rule of film criticism is that surprises can come from anywhere, meaning that no genre can be completely written off. This even applies to quirky, independent comedy-dramas about dysfunctional families, such as Jason Bateman's The Family Fang – no masterpiece, certainly, but substantially more interesting than comparable productions such as Captain Fantastic.

Adapted by playwright David Lindsay-Abaire from the novel by Kevin Wilson, The Family Fang tells the sad story of Caleb and Camilla Fang (Christopher Walken and Maryann Plunkett), controversial performance artists known for stunts involving their children – in the Candid Camera vein, but with a threatening edge.

These family conspiracies, shown in flashback, are the film's comic set-pieces: a fake bank robbery, or a musical performance disrupted by pre-arranged heckling.

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Decades on, the younger Fangs have done their best to break away from their beginnings, asserting themselves as artists in their own right.

Annie (Nicole Kidman) is an erratic but respected movie star, while her brother Baxter, played by Bateman himself, is a less successful novelist.

Still, both are marked by childhood experiences that could well be understood as psychological abuse, and Bateman as director is concerned with trauma more than quirk.

His instinct, a sound one, is to steer as far away as possible from Wes Anderson's bright colours and symmetrical framing: the look is naturalistic when it's not outright sinister.

The present-day sequences in the Fang family home are often dominated by darkness, as if to hint at some Gothic secret never brought to light – echoing Baxter's account of the novel he's working on, in which the young characters make a bid for escape only to be trapped once more.

This is an actor's film, though Bateman is modest enough not to hog the spotlight. Playing a variant of his usual sardonic, self-loathing persona, he serves as a foil to Kidman's more elusive character – a "difficult" personality, more skittish than manic, like an empty vessel waiting to be filled by her next role.

The pair often suggest potential lovers rather than brother and sister, and incest is explicitly joked about in one of the flashbacks. But this too is finally left up in the air.

Uncertainty is something that Bateman seems to value, in contrast with the tyrannical Caleb – played by Walken as thoroughly, satisfyingly detestable, whether laying down the law about artistic integrity or chortling at his inevitably self-flattering jokes.

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