After escaping a murder attempt, Franck Lazareff at 4 a.m. to save his wife, kidnapped by a mysterious group of armed men. Caught up in his past, he finds himself at the same time immersed in an affair of state…
Co-written, co-produced and performed by Guillaume Canet, this thriller is surprising with its total lack of interest and, above all, originality. On the production side, it’s clearly a cold shower, it’s hard to understand how and why a 90min film finds itself heavily handicapped by flashbacks of… 45min (!). Suffice to say that there is not much time left to discuss the main plot.
So much so that the film gives the impression of stirring up wind and filling boxes (the archetype of the members of the GIGN, namely a close-knit family where they only live for their work and when they are OFF, all find themselves together to have a good time.
They live GIGN, they eat GIGN, they drink GIGN, they fuck GIGN, they defecate GIGN, … In short, obviously the members of the elite unit of the gendarmerie have absolutely no personal life apart from their colleagues ).
This whole part in praise of the intervention group (great promotional spot, moreover, since part of the film was even shot within their premises) takes up half the film and adds nothing to the story, if This is certainly a minimal context, but this flashback could have only lasted a quarter of an hour (or less), that would have been more than enough, rather than occupying 50% of the film.
On the implausibility side, we will try (as best we can) to turn a blind eye to the hero’s wife who,
-8 ½ months pregnant, knocks out half of the commando,
without forgetting the paramotor sequence which takes an unbelievable turn
(the scene is extremely long and becomes laughable when we find ourselves in the grounds of the Château de Versailles.
We clearly understood that the director wanted to infuse it with a postcard image aimed at foreign spectators (Netflix obliges), after the opening sequence at the Sacré-Coeur, but that discredits the whole thing and becomes ridiculous).
At the helm of this perfectly harmless thriller, we find the person responsible for the catastrophic (and again, I weigh my words) Je te moi non plus (2021) with Inès Reg. Difficult in such circumstances to hope for a nervous and thrilling thriller (this was clearly not the case).
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