Samuel Pierret (Gilles Lellouche) is a nurse who saves the wrong guy -- a thief (Roschdy Zem) whose henchmen take Samuel's pregnant wife (Elena Anaya) hostage to force him to spring their ... See full summary »
A cop with a connection to the criminal underworld finds his secret life exposed when he and his partner are caught stealing cocaine from a powerful drug dealer, a move that puts his son's life in jeopardy.
Samuel Pierret (Gilles Lellouche) is a nurse who saves the wrong guy -- a thief (Roschdy Zem) whose henchmen take Samuel's pregnant wife (Elena Anaya) hostage to force him to spring their boss from the hospital. A race through the subways and streets of Paris ensues, and the body count rises. Can Samuel evade the cops and the criminal underground and deliver his beloved to safety? Written by
Fast, intense, virtuosic camera and editing, keeping a formula situation alive and kicking
Point Blank (2010)
Not to be confused with the semi-classic 1967 movie of the same title with Lee Marvin, this is not a remake or an echo of that. What this French action thriller is fits another category--the non-stop kinetic run from the bad-guys film, which has become a kind of staple. Think the Bourne movies, or a couple later Liam Neeson films, where the hero gets himself into a terrible situation that requires running and running and running.
And that's enough, in a way, because you can't stop looking. There are no lulls. In fact, some of the moments have such kinetic surprise to them they deserve study. Your stomach will turn. Don't expect a big rationale. Don't even quite expect to care for anything except that our main man, and his wife, survive the ordeal. There are crosses and double-crosses. There is horrid abuse of women which I could do without (the rationale might just be the perils of Pauline kind of thing, saving her with the handsome male to the rescue, but it's just plain abusive). There is one female cop who is a great tough archetype. And lots of bad violent men.
But, truly, none of this is meant to matter. You just grab onto the handles and don't let go. It's really really well made, visually, the camera-work and editing taking front seat. I'd see it on the biggest screen you can, since that's where it's all at.
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