Regie:
Olivier MarchalDrehbuch:
Olivier MarchalKamera:
Denis RoudenMusik:
Bruno CoulaisBesetzung:
Daniel Auteuil, Olivia Bonamy, Catherine Marchal, Francis Renaud, Gérald Laroche, Guy Lecluyse, Philippe Nahon, Clément Michu, Moussa Maaskri (mehr)Inhalte(1)
Schneider ist ein Wrack: Verzweifelt am Tod seiner Frau und seinem Kind, desillusioniert durch den verhassten Dienst bei der Polizei. Doch er kann davon ebenso wenig lassen, wie vom Alkohol. Wenn er nüchtern ist, dann ist der ehemalige Elite-Cop noch immer einer der besten Männer der Pariser Mordkomission, der in seiner Laufbahn viele Mörder hinter Gitter gebracht hat. Als eine neue Mordserie mit bizarren Todesfällen beginnt, wird Schneider zu den Tatorten gerufen. Die Morde erinnern ihn an seinen schlimmsten Fall: Charles Subra war der grausamste Serienkiller, dem er je begegnete. Von seinen zahlreichen Opfern hat nur Justine überlebt, deren Eltern von Subra abgeschlachtet wurden. Nun hat Justin panische Angst als nächste dran zu sein, schließlich hat der Mörder ihrer Eltern sie nicht vergessen. Subra sitzt aber noch immer im Knast. Wer steckt also hinter den Morden? Schneider ermittelt bis zur Selbstaufgabe. Noch einmal wird er es nicht zulassen, dass der Mörder zuschlägt. (Verleiher-Text)
(mehr)Kritiken (8)
Ein düsterer Film noir Krimi-Thriller im Stil der Filme Sieben oder Zodiac - Die Spur des Killers von Fincher. Eine starke Stimmung der Hoffnungslosigkeit, der ausgezeichnete Daniel Auteuil, die schöne und zarte Olivia Bonamy, Dialoge mit dreckigen Servietten im Aschenbecher, der mit kaltem Whisky übergossen wurde. Technisch brillant gemacht. Der Polizist von Auteuil hat aber zu viel Alkohol getrunken. Er trinkt mehr als Nick Cage in Leaving Las Vegas - Liebe bis in den Tod. Man hat deshalb den Eindruck, dass der Film 20 Minuten länger ist, als es in Wirklichkeit der Fall ist. Trotzdem hat er vier Sterne verdient – für die solide Depression.
()
A revolting setting, repulsive crimes. Corruption, brutality, fascist practices. Dead people, wounded animals. The situation is bad and it will get even worse. There is no brighter outlook. And floundering in this cesspool is a half-sober Auteuil. French directors are world champions in abusing their protagonists, as seen not only in torture-porn horror flicks, but also in extremely bleak crime thrillers like The Last Deadly Mission. Marchal is not interested only in the body and the possibilities of its deformation, but also in the soul, thanks to which the contrived despair is at least “theoretically” underpinned by existential philosophy. The only constants are birth and death, both of which the director ruthlessly throws at us in the climax, which with its affected grand tragedy (he will be named Louis) locks all of the film’s realistic qualities (which were initially present) in a small, dark chamber. I had to laugh at the pretentious seriousness of the final minutes, though of course I didn’t find the depiction of a human being as eternally drowning in shit to be entirely unlikable… 70%
()
The French have done it again. MR 73 is one of the grittiest crime dramas I've ever seen. This film is about honour! An homage to the torture, the courage, and the lives of the people the film is based on. The biggest highlight is definitely the birth at the end, which convinced me that I never wanted to see one with my own eyes in my life.
()
Olivier Marchal, a former law enforcement officer and director with a God-given talent, tells another story. That story is that carrying a badge is a heavy burden and it usually doesn't end with the discovery of the killer. Marchal tells the story simply, almost sparingly, and more or less in images. He doesn't prattle on in dialogue and the actors make it all feel incredibly vital, pulsating, and real, like life in uniform itself. The best "crime" film since Zodiac.
()
Marchal once again puts his experience in the police force to use and creates a world full of assholes and even bigger assholes through one filter after another. Auteuil proves again and again why he is the best actor in continental Europe. Bruno Coulais managed to deliver a composition of a lifetime, and the screenplay is not nearly as run-of-the-mill as it may initially seem. And if you can find a more sensual femme fatale than Olivia Bonamy in France today, then I’d really like to meet her. But this all pales in comparison with one aspect. The atmosphere. It engrosses you right from the opening title sequence of the bus “hijacking". That scene is literally everything a viewer (like me) could ask from this kind of movie. And the best part? That it didn’t end there, but continued like that for the rest of the movie, even though the pace was a bit slow in places (although this time it kind of worked for me). If Marchal’s 36th Precinct revived the classic French crime movie and brought it to the threshold of the 21st century, then The Last Deadly Mission gives us hope that it wasn’t just a shot in the dark.
()
Werbung