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Enrico Lo Verso,
The charismatic criminal Dobermann, who got his first gun when he was christened, leads a gang of brutal robbers. After a complex and brutal bank robbery, they are being hunted by the Paris police. The hunt is led by the sadistic cop Christini, who only has one goal: to catch Dobermann at any cost. Written by
Michael Soderberg <firstname.lastname@example.org>
Every now and then, something momentous happens in film making. It is rare, maybe it will never happen again, but someone has actually made a film worse than Pamela Anderson's Barb Wire.
Dobermann mixes the non-stop action of The Matrix with the camera gimmickry of The Matrix, and throws in some gratuitous sex for good measure. It must have been very difficult to fail so completely with a formula like that, but the makers of this film somehow managed it. This is partly due to the fact that not one of the major characters has a single redeeming feature. It's probably the only film I've ever watched that could have benefited from having an obvious hero. It doesn't. The policeman chasing Dobermann's group is actually a more hideous person than they are, but it doesn't make them seem any more appealing either.
Admittedly, it doesn't start off too bad. The first few action sequences are highly stylised and well executed, even if the dialogue is corny and cliched throughout. But the middle section and ending really drag and by the end of the film any interest you have left in watching the film come from wanting to see what gruesome special effects will be pulled next.
Dobermann is an absolutely awful film. It has very few redeeming features, and even they aren't enough to make it worth watching. If you want to see cool action sequences, watch The Matrix instead. If you want to see blood and gore, watch Fight Club or Pulp Fiction. If you want a film that's not even up to the standard of "so bad it's good", see Dobermann. But it'll waste two hours of your life.
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