REVIEW: ‘The Family’ Relocates the Standard Mobster Comedy to an Inventive Place

In many ways, Luc Besson is the French Steven Soderbergh. Both broke out exceedingly early with remarkable films that catapulted them to the top of the game: Soderbergh was twenty-six when he won the Palm d’Or for sex, lies and videotape, Besson twenty-four when he directed the action hit The Last Battle, which might not have won such a prestigious award, but what better reward could you possibly want  than the sort of career that film helped launch?

I would also call both directors pseudo-auteurs: They might be treated as auteurs, but the breadth and diversity of their work means