Everything sits in the order somewhere

ANIMAL KINGDOM (2010)

Despite my comprehensive critique of the year a few entries back, 2010 is shaping up to be more promising than I expected. Four Lions somewhat replenished my faith in what’s appeared to be lackluster year film-wise and now David Michod’s impeccable Australian drama Animal Kingdom has me choking back a few unwarranted gripes. As a matter of fact, Kingdom may possibly rank as my favorite amongst this year’s offerings; which is a bit amusing considering this particular genre isn't quite up my alley. Call me a bore, but I prefer moderately slow-paced flicks, and crime thrillers – such as this one – tend to be the opposite. So, “what a treat,” I thought, as Kingdom peeled open so poignantly to expose the haunting character studies of an afflicted, yet closely integrated criminal family.

Michod dabbles into the darkest colors on his palette to convey the gritty, hostile side of Australia – playing against our perceptions of the sunny continent down under – in a grim tale of family and corruption. Kingdom dives directly into the cut-throat gangland of Melbourne and devours our mechanical protagonist – Josh (James Frecheville) – in the process. After losing his mother to a heroin overdose, the pokerfaced orphan dials up his grandmother (Jacki Weaver) to solicit temporary lodging. Weaver has three sons of her own – one who’s no more than a few years older than Josh – and all are involved in some form of criminal activity. Josh quickly ascertains the lion’s den he’s fallen into, however feels guarded, even influenced by this aggressive triad of brothers. The film progresses – with staggering revelations – as the triad weakens, leaving Josh vulnerable and emotionally wrecked.

Antagonistic films like this hold a special place in my heart. The criminal mind is dangerous, yet fascinating to explore, and Kingdom does just that with pitch-perfect execution. The characters exhibit depraved behavior that's unsound to a fault and haphazardly triggered in compromising situations, yet we pity them. It takes a certain amount of finesse to mold such wickedly demoralized characters that stir up the amount of sympathy Michod’s felons do, and what makes Kingdom an arresting triumph is that past misdemeanors and criminal histories are of little relevance to the plot, while character introspection and paths forward drive the film.

9/10