I have great trust in Mélanie Laurent as a filmmaker; to date there's been only one of her directed features that left me less than impressed, and the others have been plainly superb. Her skills as an actor are never in doubt, and for Isabelle Adjani and Adèle Exarchopoulos to appear alongside her is all the impetus I need to check something out. I claim no familiarity with the graphic novel on which this is based - and truthfully, when it comes to the quality of their "original" films or series, I don't think Netflix is remotely reliable - but still, I've all the reason I need to give 'Voleuses' a try. With all this in mind, I mean no disrespect to anyone involved when I say that it doesn't take long before the nature of this flick reveals itself, and while it most assuredly well done in most every capacity, there are upper limits on its entertainment and lasting value. I like this, but it doesn't necessarily meet the same high standard of Laurent's other works as a director. And I don't think it's her fault.
We've seen this movie before. It's an action-comedy including a pair of consummate professionals, a rookie who is being trained, and a boss who is more than a little prickly and duplicitous. Dynamics will change, trust will be challenged, plans will go awry, and we'll get some fine stunts, effects, and action sequences, and some swell touches of comedy, as thieves pull heists and have a good time along the way. For good measure toss in some queer representation and sexual liberation among the characters (but do be sure that it's discreet and tasteful, lest anyone get the idea that the full spectrum and passion of the LGBTQ community is or should be generally accepted). This is also an action-comedy that, like other pictures of its ilk that prominently center female characters, suffers from the issue of softening the proceedings - ensuring that they're light and fun, and that the violence and gravity is reduced compared to what we'd see if the same picture instead centered male characters. (A prime example: an early scene in which Laurent and Exarchopoulos' characters drunkenly lip-sync and dance to a popular song.) Compare this to the overall tenor of, say, 'The 355,' or 'Les femmes de l'ombre.'
Make no mistake, this really is well made and enjoyable. Those stunts, effects, and action sequences are a blast; the acting is never in doubt. The filming locations are splendid, and the sets; the costume design, hair, and makeup are lovely. Laurent's direction is excellent, not to mention the cinematography and editing. However, more than it already had in a couple select instances previously, 'Voleuses' also experiences a radical shift in tone in the climactic sequence (and through to the end), in one fell swoop laying on all the impact, weight, and sobriety with which it could and should have been carrying itself all along. With all the suddenness of a rabbit doing a binky the viewing experience goes from pleasant and frivolous to dark, dramatic, and heavy. Moreover, between the dominant ethos of Slick And Cool, the untouchable professionalism of the characters, and the broad overproduced nature of the project, the storytelling and action are robbed of a preponderance of the substance that the writing didn't already remove from the equation. Like a superhero who is perfectly strong, perfectly invincible, and perfectly moral (you know - Superman), action scenes with no bumps in the road are kind of dull. I do like the plot, but there are relatively few moments when the writing seems to be firing on all cylinders (informing Laurent's direction in turn), contrasted with those moments when some critical component is weak or lacking. Illustrating the point, I appreciate the ending (however unexceptional even on paper), but the addition of one particular song at this juncture comes off as tawdry overkill overkill and kitschy embellishment.
I like 'Voleuses.' I want to like it more than I do. I don't know if the tack the title adopts can be chalked up to the source material, the adapted screenplay, or the invisible guiding hand of the producers, but one way or another the sum total feels a smidgen unfocused, less than entirely absorbing, and ultimately a bit unconvincing. It's a credit to all those who contributed in any capacity, yet it simply does not completely meet its potential, and maybe it should be deemphasized on everyone's respective resumes. If the narrative were tighter, if the violence was more severe, if the mirthful indulgences were slightly reined in, and if the tone were more consistent, there's no doubt in my mind that the flick would have met with greater success. These problems were not insurmountable, and it's just unfortunate that instead of the rip-roaring, highly engaging romp that the feature could have been, it ended up being rather middle-of-the-road and conventional. I'm glad for those who get more out of it than I do, and by all means, I continue to look forward to all that Laurent, Exarchopoulos, Adjani, and all others involved will do in the future. I can't help but be a tad disappointed with 'Voleuses,' though; best recommended for those who are huge fans of the participants, save this as something uninvolved and uncomplicated for a lazy day.
We've seen this movie before. It's an action-comedy including a pair of consummate professionals, a rookie who is being trained, and a boss who is more than a little prickly and duplicitous. Dynamics will change, trust will be challenged, plans will go awry, and we'll get some fine stunts, effects, and action sequences, and some swell touches of comedy, as thieves pull heists and have a good time along the way. For good measure toss in some queer representation and sexual liberation among the characters (but do be sure that it's discreet and tasteful, lest anyone get the idea that the full spectrum and passion of the LGBTQ community is or should be generally accepted). This is also an action-comedy that, like other pictures of its ilk that prominently center female characters, suffers from the issue of softening the proceedings - ensuring that they're light and fun, and that the violence and gravity is reduced compared to what we'd see if the same picture instead centered male characters. (A prime example: an early scene in which Laurent and Exarchopoulos' characters drunkenly lip-sync and dance to a popular song.) Compare this to the overall tenor of, say, 'The 355,' or 'Les femmes de l'ombre.'
Make no mistake, this really is well made and enjoyable. Those stunts, effects, and action sequences are a blast; the acting is never in doubt. The filming locations are splendid, and the sets; the costume design, hair, and makeup are lovely. Laurent's direction is excellent, not to mention the cinematography and editing. However, more than it already had in a couple select instances previously, 'Voleuses' also experiences a radical shift in tone in the climactic sequence (and through to the end), in one fell swoop laying on all the impact, weight, and sobriety with which it could and should have been carrying itself all along. With all the suddenness of a rabbit doing a binky the viewing experience goes from pleasant and frivolous to dark, dramatic, and heavy. Moreover, between the dominant ethos of Slick And Cool, the untouchable professionalism of the characters, and the broad overproduced nature of the project, the storytelling and action are robbed of a preponderance of the substance that the writing didn't already remove from the equation. Like a superhero who is perfectly strong, perfectly invincible, and perfectly moral (you know - Superman), action scenes with no bumps in the road are kind of dull. I do like the plot, but there are relatively few moments when the writing seems to be firing on all cylinders (informing Laurent's direction in turn), contrasted with those moments when some critical component is weak or lacking. Illustrating the point, I appreciate the ending (however unexceptional even on paper), but the addition of one particular song at this juncture comes off as tawdry overkill overkill and kitschy embellishment.
I like 'Voleuses.' I want to like it more than I do. I don't know if the tack the title adopts can be chalked up to the source material, the adapted screenplay, or the invisible guiding hand of the producers, but one way or another the sum total feels a smidgen unfocused, less than entirely absorbing, and ultimately a bit unconvincing. It's a credit to all those who contributed in any capacity, yet it simply does not completely meet its potential, and maybe it should be deemphasized on everyone's respective resumes. If the narrative were tighter, if the violence was more severe, if the mirthful indulgences were slightly reined in, and if the tone were more consistent, there's no doubt in my mind that the flick would have met with greater success. These problems were not insurmountable, and it's just unfortunate that instead of the rip-roaring, highly engaging romp that the feature could have been, it ended up being rather middle-of-the-road and conventional. I'm glad for those who get more out of it than I do, and by all means, I continue to look forward to all that Laurent, Exarchopoulos, Adjani, and all others involved will do in the future. I can't help but be a tad disappointed with 'Voleuses,' though; best recommended for those who are huge fans of the participants, save this as something uninvolved and uncomplicated for a lazy day.