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  • As i was thrilled by the action, acting and dark side of MARCHAL' s "36", i decided not to miss his next film. there is less action like" Heat" but more reflection and gruesome images, like in SEVEN, if you like. Auteuil and the girl are perfect. you feel for both. you love to hate the baddies as we all did in "36", but it just shows that in the police force, of any nationality by the way, there are some who do their jobs for the right reasons and some who have lost faith, and the notion of good. i loved the ending and i will not spoil it for you. a great plot , 2 to be exact. it is refreshing to watch a film noir as good as,if not better than when they first came out 50 years ago. Auteuil is a great one for those. Depardieu in the next movie again would be the icing on Marchal' s cake.
  • A couple of years ago, Mr. Marchant delivered 36 Quai Des Orfèvres (basically is the address of the Paris police department); one of the best and most complex cop movies I ever saw; a great film but not perfect. It was not as realistic as I expected; cops were ambitious but no so dirt and the end felt really forced. With MR 73 the realism is all there and if the movie lacks the continuous action of the first one, it improves dramatically aside from a few clichés. The pace however is not Dirty Harry or Lethal Weapon. It is not even Righteous Kill but it is far better than all of them. Based on real and quite tragic events, the story introduces several characters getting related as the events progress. Louis, a drunken and completely finished cop (thanks to tragic family accident and the moral remorse of his own sins). There is a serial killer on the loose (plus other getting out of jail), a few very corrupt cops and a bunch of people more worried on getting rid of problems that to hold the law or protect people. There is not a hint of humor in the movie; in fact it is really terrifying that this tribe of monsters is there to protect us. Giving up more will affect the complex of the narrative. Let's simple state that the end is far more accomplish than the previous movie and the intensity of the situations takes the breath away. A few minutes less could probably had improve the pace, but just because some moments are difficult to bear. Great movie, but aside from the cars there is nothing comparable to American cop movies.
  • Whadever16 October 2008
    This movie should not be rated for its plot, or the good guys vs bad guys, or any other standard used to rate normal movies. This movie is an homage. An homage to the suffering, the courage and the lives of the real people on which the story is based.

    Every aspect of this film breathes with the same deep respect for what happened. The reality it brings into the room takes your breath away... You cannot watch this movie and escape its grasp.

    Daniel Auteuil and everyone else in the cast did their jobs with dignity. They played their roles the way they should be played and the aftertaste is bitter... but filled with reverence.

    Watch this movie without reading the plot. Let it happen to you, expect nothing and allow yourself to care.

    I'm sure you'll agree; 10 out of 10. Easily.
  • In Marseilles, the discredited and alcoholic Detective Schneider (Daniel Auteuil) hijacks a bus and forces the bus driver with a gun to drive him home. He is arrested by the swat force and his washed up career in the police department practically ends. Schneider is removed from the investigation of a serial-killer that is committing hideous crimes against women and assigned to a bureaucratic work in the night-shift in the precinct. Through glimpses from his recollections, Schneider recalls the tragic accident that killed his daughter and left his wife trapped to a bed and life support system. Meanwhile, the sick criminal Charles Subra (Philippe Nahon), who killed the parents of two girls many years ago, convinces the probation committee in the prison that he has found God and is regenerated and may be released. Justine (Olivia Bonamy), one of the daughters that survived, has never overcome the trauma of her loss and is worried with the possibility of the freedom of the criminal. When Schneider discovers the identity of the serial-killer, he finds also the corruption in the high command of the police, and he decides to go to his last mission on Earth in his descent to Hell.

    The impressive "MR 73" is a bleak, sordid and realistic detective story from the writer and director Oliver Marchal, who is also the author of "36 Quai des Orfèvres" and "Gangsters". This movie is a dramatic story, describing in a slow pace the descent to Hell of a detective after a tragedy caused by his love affair with a colleague. The police department is filthy and corrupt, and we see that these qualities apparently are worldwide, and not only in Third World countries. The performance of Daniel Auteuil worth an Oscar nomination and the conclusion is the only moment of hope along the whole gruesome tale. My vote is eight.

    Title (Brazil): "MR 73 – A Última Mussão" ("MR 73 – The Last Mission")
  • Warning: Spoilers
    Do not go for seeing it if you're in the mood to commit suicide; there would be some work for the undertaker...

    This movie would give neurasthenia to a young couple on his weeding day.

    The tale of an alcoholic cop whose broken life has led him on the road to perdition. A cop whose the wife is nearly a zombie. A cop with no more friends, except one. A cop who is determined to neutralize, at all cost, a serial killer.

    A cop who has nothing more to lose.

    Olivier Marchall - ex cop - gives here a masterpiece. Daniel Auteuil is outstanding in the leading character.

    It's an awful, terrific story, a nightmarish odyssey for a man on the way to hell.

    It reminds me the Hughes Pagan's novels. Pagan is an ex cop himself and a friend of Olivier Marchall.

    MR 73 torn me to pieces. I couldn't move a muscle after seeing it.
  • Warning: Spoilers
    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
  • SnoopyStyle10 October 2015
    In grimy Marseilles, drunken disheveled Detective Louis Schneider is arrested for hijacking a bus. The driver told him to sit down which got him to pull out his gun. A car accident left his daughter dead and his wife despondent. He is relegated to work the night shift. Unrepetent killer Charles Subra is getting probation. Survivor Justine Maxence approaches arresting detective Schneider from those years ago for help. There is a serial killer on the loose. There is also a cover-up and Schneider is hounded to quit.

    Daniel Auteuil is acting through his scruffy appearance and his dangling cigarettes. He is so good at being world weary that the movie in general is drained of life. It's all grim and crumbling without any tension. The disjointed storytelling with the constant flashbacks to the same incident gets a bit tiresome. This movie has the moody style but the flow needs to be more compelling. I think I almost like this movie.
  • 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.)
  • Warning: Spoilers
    First I heard about this film in May and since then I was looking forward to release. And such a long expectation was has justified itself. If it is said about a film that it is made by the same director and with practically the same actors as the “36 Quai des Orfèvres” film, then it can be taken for granted that this particular film is worth watching. Usually it sounds like pure advertisement, but in the “MR 73” case the fact that the plot is based on a true story is one of the key factors of the perception of what is going on on the screen. For there are scenes of borderline cruelty and they are shot with extreme naturalism. Though I think such scenes are on their place, and if they had been excluded, it would have damaged the movie. The rate of violence is exactly of that level a spectator can expect from the police drama of such realistic focus. In case Thackeray’s “Vanity Fair” is a novel without a hero, then “MR 73” can be called a film without a hero. Of course Schneider can account on certain sympathy, but as a whole his methods are inadmissible. I do understand his unwillingness to let Kovalski win laurels, but it is not a proper ground for showing hackles and putting at stake the safety of the city by violating the arrest procedure. After all, what is more important – to stop a maniac or to pay off old scores? Seeing the names of Daniel Auteuil and Olivier Marchal on a DVD box is a quality guarantee for me. Auteuil’s acting is magnificent as always. Schneider is a drastic transformation played brilliantly. Out of his partners I would distinguish Francis Renaud (Kovalski). He is actually not known well in Russia, but I can judge by two films - “MR 73” and “Gangsters” also directed by Olivier Marchal – if there is a need for a real bad, though “bad” is not exactly the word, probably an ugly, vicious and repulsive cop, then there is no better candidacy than Francis Renaud. A rare talent, a born talent I think to play scoundrels. Actually if I wanted, I might find fault with the screenplay. Say, it is not news that the criminal is being exposed by the parallel between homicides and the pets found near the crime scenes. It is rather easy to make a conclusion that a maniac is someone who has an access to these pets or who at least had an opportunity to see them. We have already seen this in “Red dragon”, but let us leave this far-fetched objection. The point is I am inclined to believe that what happens in “MR 73” took place in reality, so it has nothing to do with the imaginary events of Thomas Harris books. The pets that participated in the film, that is the puppy and the cat of enormous size are so sweet, but is has been said long before that if there are animal actors they will inevitably outshine the human ones. Those of “MR 73” were a real treat for spectators, especially the way Auteuil’s hero communicated with them. What the pets do is converting the gloomy atmosphere of the film into something a little bit less depressing.

    With “36 Quai des Orfèvres” being my most favorite police drama, I could not but enjoy “MR 73”, and if you also like the previous Auteuil and Marchal common work, their new film will also find its place among your favorites.
  • writers_reign30 April 2010
    Warning: Spoilers
    Olivier Marchal kept his devotees waiting for four years after the great 36, Quai des Orfevres so clearly the main question is, was MR 73 worth the wait. The answer has to be yes. There are, inevitably, overtones from other movies; the detective searching for a serial killer whilst his own wife remains comatose is straight out of The First Deadly Sin in which Sinatra was the cop and Faye Dunaway the comatose wife. Elsewhere we are on newer ground. Where Sinatra's wife had a conventional illness Auteuil's was in a car crash for which he feels such guilt that he is burnt-out, washed-up and a booze hound. Marchal weaves two stories seamlessly - the current serial killer and the one awaiting release from prison, whilst his own wife, Catherine scores heavily as Auteuil's sympathetic boss. Try not to miss it
  • Warning: Spoilers
    I was really thrilled by "36 Quai Des Orfèvres" (aka Department 36) ... for once you could feel a real policeman tale by an ex-cop. I am slightly disgusted by MR 73. I agree with the first comments I read on IMDb. The film is bleak, spooky, desperate and after the introductory minutes no one wants to laugh anymore. What's more, the ideology under the images is debatable to say the least. Criminals stay criminals whatever the amount of redeeming they show off.If they're given a conditional release after 20 years of prison, kill them before they can commit a new murder ! Good cops stay good cops, whatever the amount of drinking and "petty demeanors" such as high-jacking a bus for example they can be responsible of. Auteuil plays an ex-good cop: he drinks like a fish, high-jacks a bus to get back home with his policeman gun and is retrograded as a heavy sentence to another service of Marseille's police ! he steals crucial evidences, acts as the local Zorro with a fellow policeman who finds death in the process in company of the serial killer ... and he's given the retirement sack (with 70 % of wages)...only because the criminal himself (credibility rebuke)happens to be the son of a high rank officer of the Police. In what Republic are we supposed to live ? This film is certainly not a defense and illustration of the glorious french police corp, rather the contrary. I give a 7 though, for the quality of filming and interpretation.
  • Former cop Olivier Marchal presents us with a bleak picture of French cop on the end of the line. While things looked almost hopeless for the main character in his previous directorial work, 36, here they are utterly hopeless.

    We meet Louis, a completely alcoholic cop who downs a bottle of whiskey a day, as he in a drunken stupor hijacks a bus full of people so that the bus driver can drive him home. Internal affairs gives him a break and assigns him to answer phones during night duty. Louis used to date one of the IA officers. He's in the middle of a serial killer investigation; the killer brutally rapes and kills women in their home. Even though he's off the case, Louis can't let go and continues to investigate. In fact, he solves the case and with his partner orchestrates a fantastically botched operation to apprehend the killer. This time around he's kicked off the force.

    A parallel story involves a pregnant woman whose parents were killed 25 years ago. The killer, now an old religious man, is about to be paroled. She doesn't believe in his rehabilitation. It's only late in the film that we find out how this story connects to the main story. It was Louis who put the killer in jail. She now contacts Louis to inform him that the killer is out. And sure enough, the killer stalks and threatens the woman. Louis who at this point has nothing to lose decides to take on his last, personal, and very deadly mission with the help of a MR-73 a gun that belongs to his partner.

    We are told that this is movie is based on real events and it would be interesting to find out what aspect of it is true. This seems to be a very personal movie for Marchal. Once again, as in 36, we are exposed not to the glamorous world of law enforcement but all the nastiness and corruption. We find out what drove Louis to alcoholism, a car accident left his wife in a semi-vegetative state and he has to take care of her. Marchal presents us a very realistic picture of the police force, where ego and testosterone make for a terrible combination. These cops rarely work as partners preferring to be each others' antagonists.

    The movie is entertaining to see but there is a lot of room for improvement. Several parts of the pregnant woman's story are superfluous. A lot could have been improved via editing to make the movie shorter, tighter, to present these two stories in a more coherent and interesting way. There's only so much fun in watching a slow-mo train wreck unfold and Louis' life is an absolute wreck. I like Marchal's direction, it has a lot of style but is paced too slowly, this movie is more than 2 hours long and you feel every minute of it. I would have liked to see the serial killer story get more prominence, it ends too soon, meanwhile the woman's story is too drawn out, starting too early.
  • 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.
  • Warning: Spoilers
    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.
  • This one's just as bad as the director's previous movie.

    Full of fake gravitas, hollow posturing, stupid behaviour, self-important bleak pseudo-philosophizing, contrived storytelling and unbelievable character development. Not to mention the many piled-up clichés.

    A policeman's life may be hell on earth, but this pic offers just superficial and wound-up theatrics without any feeling for real-life matters of detection and police work, let alone sincere emotions.

    And as an entertaining psycho-thriller "Seven" style it doesn't work either.

    3 out of 10 dead owner's pets
  • I am not going to write a review. Only a few thoughts about this feature. It was a lucky accident to discover the Olvier Marchal movies thanks to my European friends. In a few days I saw a several of them and this one easily became my favorite.

    The story about lost soul desperately trying to reunite with the love of his life. The only way to do so is to die. The most acceptable way to do it by drinking himself to death. He grew up as a Christian after all, so quick death is not an option. The long struggle helps him to dignify his own death. The sin, the redemption, the death and the rebirth of the character - that's what I found in this feature.
  • stuka2418 November 2009
    Warning: Spoilers
    First of all: I didn't really like this movie, and I wanted to.

    Daniel Auteuil, the genre, a serial... But no, when I saw the clichés piling up it reminded me of another French tank policier which turned out to be pulp... yes, "36 Quai des Orfebrès". Luckily I hadn't found out on IMDb that they were issued by the same director. If "real life cop experience" makes you put a wife left in coma from "an accident", a child victim from a family murderer, who cries all the time (sometimes flooding) is herself a victim of a bad job, bad relationships with her boyfriend and sister, wait until you see his grandfather die (she sobs again), all her pregnancy, including two stressful events, then childbearing, on camera, long shots of her sweating, then the child's face on camera... What does it have to do with the story? Do we need this to elicit some automatic empathy for any character? If we want to watch a silly sick movie like "Mr. Holland's Opus", which can only resort to low blows because it has nothing to say, go ahead. But this film could have been good. It should have been great.

    It's a pity, Marchal's got a great CV as an actor (!) as well as a writer and director. I just don't like his way of "emotional blackmail", that the Argentine writer J. L. Borges wrote about 50 years ago. He liked the genre, I suspect he wouldn't like this tergiversation.

    I've just learned this is the last part of a trilogy, starting with "Gangsers" (2002), then followed by 36 Quai des Orfèvres (nothing to do with the 1947 movie, that was way more daring for its age). Any of the 3 has actors that would make any budding director dream: grouchy Gérard, André Dussollier, Anne Parillaud, Francis Renaud and Olivia Bonamy here. He is very believable (something of Madeleine R. IMDb readers?) . She could make a rock weep. Here she is given such lame material that it only hints at what she could do. Like the "motive" for her to want to track Charles Subra. "Ask him if he had changed". Come' on...! He killed her family, but did his time (= in jail) as a law abiding citizen, but now he's free, we secretly want him killed, and so does she. If not, why ask him with a dishonest kiss to "find him"? If everybody knows he's a loose cannon? But she's got to remain "purely good". Then, she's got to babble something ludicrous as her leitmotif? The problem is that it's the core of this bad movie. Ah, the cliché of "the woman who could be his daughter that puts some order and romance into a loner looser with addiction(s) isn't something you've seen a million times? Again, superb IMDb community of reviewers, help me out with names commenting this review, in your own, add a thread or something.

    I just don't want to write this review. The only scene I liked was the predictable dog accident with his sidekick. Schneider seems really angry, like if nothing he does could ever turn right. Auteuil has to overact all his other "anger scenes" so as to carry on with this boring film. Like the "botched And at the morgue" scene, the fight with Kovalski, his constant drunkenness, etc. At Quai he's also got to endure jail, unfair condemnation even from his family, bereavement (sounds familiar :)?). Even the filming style here of the melodramatic scenes is the same. In fact, that's what made me think I had seen the same film before... it was Quai :(! Music is good when playing the obsessive tune Schneider gets on his head. Kovalski gets the best line, the good if not superb: "cops are like family, we don't betray each other" (to the fat forensic/ photographer, smuggler). Now that I think about it, I'm surprised he didn't wind up dead. I also liked Subra's pretence of redemption, totally feigned convincingly, so much he fools Kovalski. Which is not so surprising given he fits the profile of the classic psychopath. Emmanuel Carrière in the book that originated the infinitely better "L'Adversaire" (also starring Auteuil) narrates how the true case of a guy who murdered basically all his family, including parents and in laws, even almost got rid of her lover too, all during a long period (not in a fit or rage or something), later in jail converted to extreme religious zeal. Sounds familiar, right?

    Catherine Marchal does a fine emphatic psychologist. Yes, she's smart and beautiful (her sleek attire and ultra stylish car does help), but doesn't she have the same surname as the director? Oh my.

    I liked the lighting. All the whites are too white, blinding. "Saturating" or whatever is the jargon for that. I suppose it follows some esthetical motivation, all I can say is it added some mysticism sorely wanting in the film. What I mean is, photography is probably the best this movie has. Even Subra in jail, washing or being put back into prison make you feel trapped, like if you were really there, grey walls, into constant "greyness".

    Watch this film, don't get me wrong. The ending is worth it. But don't harbour great expectations, and you won't be disappointed. Like most things in life, I guess :).
  • This is a harrowing French police and crime drama directed by Olivier Marchal, who seems to do rather a lot of police films and TV. It features Daniel Auteuil as you may never have seen him before, looking like a drunken wreck of a man, unshaven and unwashed, though I have to say that Auteuil's rather thin weasly face looks better, in my opinion, with a modest beard. Auteuil is a very fine actor, and he conveys his character perfectly, though he is far from being a role model, as he gulps down neat whiskey a bottle at a time and is a very far gone alcoholic in this film. It is suggested that he was driven to this by despair at the death of his little girl and the paralysis and vegetative state of his wife as a result of a car crash, the flashes of which we see haunting him throughout this film. Despite his condition, he is kept on as a crack detective in the Paris homicide squad. His struggles to catch a serial killer of women are shown in parallel with another story which eventually dovetails with the main story. The subplot, which in the end turns out to be the main plot, involves another serial killer who after many years in prison is about to be released. Auteuil had originally found and arrested him years before. A little girl had who had watched her mother being murdered by this man has now grown up and is a very attractive but psychologically damaged young woman, effectively played by Olivia Bonamy, who looks much younger than she really is and has a deep, meditative, and intense gaze and plenty of cinematic appeal. It s inevitable that Bonamy will turn to Auteuil for help and protection when the vicious killer is released, and he indeed does start stalking Bonamy. The underlying themes of the film are the inadequacy of the French justice system, the corrupting forces of liberalism in the face of crime, and that main theme of all serious French cinema these days, the complete, total, and stifling corruption of the French Establishment, which covers up all crimes which have connection whatever with important people. We see film and film coming out of France with this theme, and we must conclude that all those filmmakers are trying to tell us something. But I don't believe anybody in the world can now doubt the truth of it, since the revelations years ago of the truth about Mr. Number One Hypocrite, Francois Mitterand, who turned out to be a Vichy official posing as a socialist and who used the French security services to pursue his erotic obsession with Carol Bouquet by bugging her flat. It seems that the French are seething with resentment at their elites, and maybe les enfants de la Patrie will rise again, so extreme seems to be their hatred of their own masters these days, as films like this convey it. It is a pity that the French do not drink proper tea, or they could have a French Tea Party Movement. They could always set up a Tisane Party Movement, but it doesn't have quite the same ring to it. One quibble about this intense and brilliantly made film, about from its violence and gruesomeness of course, and it is this: could we please have just one director of a police film anywhere in America, Britain, or France, who would stop spending so much time in the morgue looking at all the corpses? It really is disgusting. The whole cinematic industry seems to be on a necrophilia binge. Get over it! OK, so it may mean putting a small industry of corpse fabricators out of work and increase the unemployment rate, but they can always find work in an undertaker's establishment, and there is no need to ply their trade on screen like that. I really have seen enough burnt and mutilated corpses with bullet holes, oozing wounds, missing bits and pieces, and blood all over them, and wish to see no more, thank you. This film has an alternative title of MR73, and for those who wonder what that is, it is the name of a very expensive and custom-made revolver which one of the policeman has collected, keeps in a special box, and says 'is more beautiful than a woman'. It ends up being used, naturally, but not in a way which is at all beautiful.
  • I discovered this brutal but entertaining thriller checking all directed movies by Olivier Marchal. I don't regret because it was never boring. There were plenty twists and dramatic moments.

    The story is built up carefully with dark and violent pictures. There are some nudity scenes to keep high the attention... I have only one critic: the identity of the killer could have been revealed with much more suspense.

    Toward the end it was so far emotionally that I had nearly tears in my eyes.

    Daniel Auteuil and all the other actors delivered a superb and cool performance. Finally Olivier Marchal presented a great thriller worth watching.

    MR 7/10
  • Warning: Spoilers
    Stereotypical drunk cop protagonist. Except this one is REALLY REALLY drunk.

    A lot of dark, beautiful scenes around Paris and decent yet generic dark crime dialog - this film starts getting questionable when the antagonist commits a murder while in jail after already serving a life sentence and just days after his parole hearing.

    Yes, after a man is found hanging in a cell that he just basically randomly was placed into - he gets set free - and he just committed murder and rape about 20 years ago and has rape and other violent crimes on his record from previous cases and stints in jail.

    Around the same time of the parole hearing the viewer is introduced into another "twist". What is it? Yes corruption in the police force. But this isn't with basic under-payed patrol cops - its with the elite special crimes unit in which the protagonist is a part of. This corruption isn't anything high brow and isn't even white collar crime - it's some fat guy crime scene photographer who steals jewelry off dead corpses and - get this - sells them to fellow special crime detectives on his police force.

    This movie had potential (the first scene was pretty iconic) but then went nowhere for literally hours and had some unreal corny movie scenes that you might see in a movie from the 80's and then of coarse a goofy tedious plot which left me confused about the point of the movie.
  • This movie is an absolute garbage. The story is implausible, the filming is bad, and the actors look like they are playing some stage drama in a high school. Even the usually impressive Daniel Auteuil gets lost in this story. The pace in this film is very slow, and when actors have nothing to play, they lite up a cigarette. Probably the tobacco used in this movie consumed most of its budget. Do people of France really poison their lungs so much, or the director of MR73 wanted to just show us the masculinity of his heroes? Finally, the amateurish symbolism of several scenes is just a bunch of clichés that were used in so many movies before. Instead of being dramatic, they are just laughable. Bad movie,2 out of 10.