Paul Scheer sheds some light on The Room, lets us in on a secret in The Disaster Artist, and answers your questions. Plus, we explore the origins of midnight movies and take a look at IMDb's Top 10 Stars of 2017.
In the underbelly of the Parisian criminal world, the Police are frustrated by a gang committing a series of violent robberies. Leo Vrinks and Denis Klein are two cops seeking promotion, ... See full summary »
Chris is a once promising high school athlete whose life is turned upside down following a tragic accident. As he tries to maintain a normal life, he takes a job as a janitor at a bank, where he ultimately finds himself caught up in a planned heist.
Crystal Hayden marries an LAPD Detective obsessed with the murder of his late wife during a robbery. A robbery in which everyone was caught except for the lookout and possible driver. As ... See full summary »
The young police man Vincent is the best in his class, and denies to be recruited to the special forces. But when the corrupt Milo manages to get a grip on him, his life is turned into a living nightmare.
The End Of French Crime Cinema As We Know It, Jim!
In some ways, 'The Lookout' reminded me of the truly awful 'Primer', in
that there seemed to be a lot going on, but with the characters only
allowed brief scenes and the briefest of conversations to clue you in
as to what it was, the odds of you making sense of it all before the
credits rolled were so long as to become infinitesimal. Maybe that's
just as well, because I suspect neither the director, scriptwriters, or
editor(S) had managed to themselves fully join the dots before they'd
committed their work to celluloid.
The opening heist and Paris city-centre shoot-out, and especially the
intriguing use of flashback prologue that preceded it provided enough
of a teaser to buy one's interest for at least a good half-hour, but
ultimately it only served to leave me cheated, in the way the cruellest
of con-tricks does. Successive scenes of gloomy late-night action, and
apparent cross and double-cross, might look great on paper, but
ultimately, not enough to make one even consider giving it a second -
or even third - watch to try to pick up on what you missed, because you
quickly realise that what you might have missed was never actually
there in the first place.
I'd officially given up on French crime cinema about 5 years ago - or
whenever the over-hyped and overrated 'The Prophet' was released. I'd
determined that all the younger directors were following some template,
which usually featured sombre, moody, colours; savage violence -
usually including superfluous and titillating misogyny - and slick
fast-paced productions designed to compensate for plot-holes.
'The Lookout' has all of these - and then some - but 'The Lookout'
trumps them all because it has the 'Primer' factor that the other films
lacked: "Regardez, mes amis: you don't need to have any coherent plot,
because you can use bikini-brief scenes, and half-begun sentences that
This film might be the first truly 'Second Unit' film: it's all about
the action, and the slick, fast-paced non-plot, and location shooting.
Yes,it features Daniel Auteuil and Mathieu Kassovitz who've done good
work in the past, but their presence was required solely to sell the
film to a baker's dozen of international financiers. Acting-wise, their
presence was superfluous. The presence of so many technicians who are
experts in their field might have provided at least a temporary boon to
the French film industry, but ultimately I fear it will only become
self-defeating, as it will turn off potential viewers.
Jean-Pierre Melville must be turning in his grave! (or even
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