In 1973, rampant criminal Jacques Mesrine (Cassel) has finally been captured by the cops but stages a daring courtroom escape with the help of his pal Charlie (Lanvin). He's soon back to his bank-robbing, executive-kidnapping ways, taunting the tenacious detective Broussard (Gourmet) even when he's arrested.
In prison he concocts an elaborate escape with fellow inmate Besse (Amalric), and the two go on another brazen crime-spree, meeting Mesrine's next wife Sylvie (Sagnier) along the way. But as Mesrine adopts the politics of Germany's Baader-Meinhof gang, the cops are closing in.
Continue reading: Mesrine: Public Enemy No 1 Review
Jacques Mesrine (Cassel) is educated in brutality while serving as a soldier in Algeria. With his charismatic personality, he falls into a life of crime with the vicious mobster Guido (Depardieu). While fiercely protective of his Spanish wife Sofia (Anaya), he engages in nasty acts of vengeance and, after a stint in prison in 1962, finds a new wife Jeanne (DeFrance). They embark on a Bonnie & Clyde-style crime spree, travelling from Montreal to Arizona with the officials on their tail. But the Canadian prison can't hold him either.
Continue reading: Mesrine: Killer Instinct [L'Instinct de Mort] Review
And mon dieu, what parents she has! Victorine's mother (Myriam Boyer) is quite insane, and her father (Marcello Mastroianni) is a raging alcoholic who spends most of the movie hunched over a bar drinking pastis. They torment Victorine at every stage of her young life, and we see every stage, with Grinberg acting 12, 16, 20, or 25 as the scene demands. With just the change of an outfit and some altered body language, we get Victorine as a middle schooler in love with her daddy, as a married woman with several children (it's hard to tell how many), as a tough teenager looking for trouble, and as a preteen willing to give up her virginity to anyone who'll be nice to her. Linear chronology flies out the window, and you're never quite sure what you're seeing, especially when dead characters reappear to chat with Victorine or address the audience. It's a tour de force for Grinberg, although some of its power dissipates in the overall confusion of the storytelling.
Continue reading: Un, deux, trois, soleil Review
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