terrible... so disappointed.

The acting is good, and the firecracker script has some excellent ideas.

The movie is wonderful and true, an act of love in all its contradictions and complexity

Great movie. Not sure what people expected but I found it highly entertaining.

I watched Olivier Marchal's Department 36 and Tell No One a few years ago, and this movie clinches it. Watching Marchal's movies is like eating a soufflé' - pretty to look at, full of volume but devoid of substance. Being a former cop, he explores the sinister underbelly of police corruption and complacency as he did in Department 36, with the jaded anti-hero battling to survive despite the odds. But Auteil's character goes about his work with such incompetency as shown in his arrest of the serial killer that it's difficult to find any empathy for him, and you think his superiors have a point in treating him like the loser he is. The plot is a mishmash of themes poorly explored and laced with so many inconsistencies made even worse by the film's pretentious grandeur.

Some movies are saved by their actors.To write that the movie is derivative is to state the obvious .It borrows from many of the American thrillers of the nineties ,the inmate (notably) is another reincarnation of Hannibal. Fortunately,no Clarice,but Justine ,daughter of his victims ,whose part is the most interesting of the whole movie.Her commitment to her grandpa is extraordinary and the scene of the mass for the dead rings true .Her relationship with the hero is more conventional but the viewer really needed some sunlight breaking out.A hero who has perhaps never deserved more to be called anti hero.It takes a lot of nerve ,a lot of genius and a lot of courage to play such a demeaning part of a fallen cop,who smells urine and alcohol ,with an haggard face who seems to have suffered his misfortunes without complain. Daniel Auteuil is ,much more than Depardieu,to the French cinema what Jean Gabin was half a century ago and besides he ages more gracefully .This part and that of Nicole Garcia's "L'Adversaire" are among his finest performances.The only thing that's lacking is a firm strong screenplay.This one is a bit desultory ,but who cares?Auteuil carries the movie on his shoulders ,with fine support by Olivia Bonamy.Well I stepped into an avalanche,it covered up my soul..... (L.C.)

Cop who's lost his family deals with his demons as he investigates a series of murder/rapes and tries to help a young woman deal with the impending release of a killer who had her watch as he killed her parents.Dark brooding nihilistic film that makes you feel unclean. (I wanted to take a shower about half way in) This film is all about mood at the cost of an involving plot. The film begins well as we meet the characters, then it falls into dullness as everyone wanders about not doing a great deal interesting before it picks up at the end in such a way that you wonder why it took over two hours to get to that point. I think my feelings at reaching at the end sum it all up best, "Thats it?" Apparently. Its an okay film in bits but the ending isn't worth the time to get there.

Directed by ex-cop Olivier Marchal as the concluding part of the trilogy he started with the critically acclaimed GANGSTERS and 36 QUAI DES ORFEVRES, this promised to be an inside look at the French police system. At least, that's all I knew when I entered the theater, lured in by the presence of the ever dependable Daniel Auteuil who may have compiled the most impressive body of work this side of Depardieu. Had I known beforehand just how relentlessly downbeat a cinematic experience this was going to be, it might have scared me off and that would have been very much my loss… Set in the coastal town of Marseilles, made to look extremely uninviting by the bleached out cinematography of Denis Rouden (a master of atmosphere, as evidenced by his sterling work on Lionel Delplanque's PROMENONS-NOUS DANS LES BOIS and Olivier Megaton's LA SIRENE ROUGE), the narrative incorporates two serial killers – one past, one present – and their influence on weary, dead-eyed cop Louis Schneider in charge (initially, at least) of both cases. Those expecting a Continental carbon copy of SE7EN however will be disappointed (additional comments prove as much) as this is basically background for Schneider's road to redemption. Careful viewer attention is mandatory to grasp matters that have occurred in the past – sometimes only visually alluded to rather than spelled out in dialog – and how they not so much influence as downright paralyze the character in the present. Suffice it to say that a furtive fling with co-worker Marie (a subtle portrayal by the hauntingly beautiful Catherine Marchal, hereto best known for extensive TV work) at the exact same time his wife crashed her car on the freeway, reducing her to vegetable and killing their only child, provided him with enough guilt for at least three lifetimes. While his reprehensible and morally corrupt superior Kovalski, played with hiss-able relish by Francis Renaud, works hard to take Schneider of the current murder case, an unwelcome blast from the past will put everything into perspective. After 25 years of incarceration, psychopath Charles Subra (craggy-faced Philippe Nahon in his best performance since Gaspar Noë's SEUL CONTRE TOUS) is about to be released on good behavior, upsetting troubled bartender Justine (gorgeous Olivia Bonamy, unforgettable in the out of left field horror hit ILS, who continues to impress more with each passing film) whose parents he slaughtered before her very eyes. Requiring Schneider's help in bringing the seemingly reformed murderer (who has "found God") to justice, she unwittingly helps pave the way for the demon-plagued policeman to make his peace with the past. Fundamentally decent, he eventually summons up the courage to do the right things, even as rampant corruption and random violence threaten to obliterate his valiant efforts.With human kindness in such short supply, Marchal still allows for a single ray of hope to shine through at film's end. The fact that he accomplishes this through possibly the most hackneyed of narrative devices (the birth of a baby) and yet manages not to make it come off as such attests to his considerable talents as both filmmaker and story-teller as well as the profound emotional investment audiences have established by then with these emotionally battered characters. The exquisitely elegiac soundtrack by Bruno Coulais, who has clearly been going from strength to strength, beautifully complements the human and religious connotations the movie has built towards. Viewers who complained about the perfunctory exposition in both murder cases actually managed to miss the point the director has gone to such great lengths to make, that even the most adverse of situations can serve to bring out the best in people if this is within their nature, ofttimes unbeknown to even themselves. Though on the surface as noir as noir can be, this may ultimately prove an optimist opus at heart. Just brace yourself passing through. There is light at tunnel's end