Aurore (Perron) is a cop who feels guilty over her affair with a colleague who was killed by a violent gang. So she vows to avenge his death with the help of her partner Jimenez (Recoing) and their colleagues (Martins and Oppenheim). But after a manic encounter with the villains (including Ebouaney, Masta and Prestia), the building is attacked by a mob of the carnivorous undead. So the cops must team up with the thugs and a talkative ex-soldier (Pignot) to survive.
Continue reading: The Horde Review
The supposed wisdom imparted by Irréversible is, unfortunately, wholly unoriginal in theory and decidedly odious in practice. To Noé, man is, regardless of his civilized facade, a vicious animal driven by primitive instincts. Homosexuality and femininity are the enemies of masculinity, and should be treated with suspicion and disgust. The modern world, and Paris in particular, is a cesspool of vice and depravity. And the only way to fully convey these themes is to depict them unflinchingly, without restraint or decency. The film, like far too many recent French imports (Baise-moi, Romance), mistakenly embraces blunt shock tactics as the surest means of capturing artless reality.
Continue reading: Irréversible Review
Continue reading: The Dreamlife Of Angels Review
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