Horrible, fascist and poorly acted

Instead, you get a movie that's enjoyable enough, but leaves you feeling like it could have been much, much more.

Strong acting helps the film overcome an uncertain premise and create characters that hold our attention absolutely.

There are moments that feel comical, some horrific, and some downright inspiring but the tonal shifts hardly matter as the end results come to a film that's perfect for this time.

Bought this out of curiosity on Time Warner On Demand, that movie had flown under my radar. Wasn't disappointed. Contrary to a previous reviewer, i actually liked the twist in the final 2 minutes. This is a nice psychological thriller disguised as a art-house summer flick. The ladies are beautiful, Boris quite haunting and mysterious, Jacques Dutronc & Marthe Keller brilliant, and it seems that everyone is hiding something, apart from A-P, the house-grump who turns out to be the only good guy. Loved the cinematography, and the very sober editing, although i could have done without that one flashback. Overall i give it a 8/10, these were $5.99 well spent

Set on the beautiful islands of the French Riviera, "UV" begins when Boris, a handsome, mysterious stranger, arrives at the door of the super-luxurious mansion of a rich family who is vacationing there, claiming that he is a good friend of Philip, the "prodigal son" of the family. Philip is not there but is expected to arrive soon. The family takes him in and they all seem to like him, particularly the two sexy daughters, Vanessa and Julie. The only person not pleased by his presence is Vanessa's husband, André-Pierre, who is becoming increasingly jealous. And that's about all I'm gonna give away about the plot. "UV" masterfully balances between a tense thriller (based on the suggestion that Boris is dangerous) and a wicked comedy (based on the suggestion that Boris is innocent after all, and André-Pierre is simply becoming paranoid because he cannot compare to him). And then the film takes a 180-degree turn, and you find yourself asking a whole different set of questions. But don't worry, most of them are answered. The only - arguably - wrong step is, IMO, the very final twist that happens in the last 2 minutes: they either should have left it out completely, or they should have expanded the running time by at least 10 more minutes. But even if I have a problem with those 2 minutes, I loved the other 95. Gorgeous locations and cinematography, good (and in most cases good-looking) cast, methodical storytelling: a terrific little film. (***)

So the movie begins with a long shot ... this shot reveals to us two women sunbathing, without their bikini top on ... or half naked if you will. A beautiful (anamorphic) site, that starts off the movie with a quiet bang! At least for the lovers of the female body that is ... So can a movie that starts off like this disappoint? This kind of can. It's not that it's bad and I even like the fact, that it's not predictable. You never know in which direction it will go. More drama, more action (although not so much action found here, to say the least), more thriller, more naked women? It's difficult and quirky, but can never achieve to combine all the things, it wants to show us ... a shame then for the good beginning ... ;o)

With every movie that he makes, Jacques Dutronc emerges ever more clearly as a Gallic Bryan Ferry. The accomplished singer-composer and César-winning actor moves through this movie with the weatherbeaten grace of a retired crook who has seen it all. A self-confined prisoner of his minimalistic sea-side mansion, he watches helplessly as his spoiled kids repeat the mistakes of the past in a classy peepshow of bodies and souls. With "UV", you get three movies at the price of one. It is a thriller embedded in a family drama with the visual appeal of a poolside cocktail commercial. Those of you who don't turn a blind eye on female allure will be pleased to find the girls (Laura Smet, Anne Caillon) tanning topless on-screen where they are wearing bikini tops in the production stills. Cinematographer Diego Martínez Vignatti makes ample use of overexposure, creating a glimmering visual equivalent of the Mediterranean mid-summer heat.