[CRITICAL] ROBBERS

Frowning, vulgarity of speech and action shaky cam… The trailer of ROBBERS foreshadowed a entertainment ultra-generic. What a surprise to discover a polar nervous, dry, well-written, very well performed and especially with a realization of the crescendo of the part of the young Julien Leclerq !

What could be put off in the trailer turns out to be very consistent and very accurate in the thread of the film. The vulgarity of some of the dialogue refers to situations of tension that make them fully credible, in the vein of a Heat(Michael Mann). The director of the ROBBERS is still far from such formal mastery, but already shows a maturity in his choice of realization.

One of the main qualities of the film is its management, of tension, more important scene after scene. Two plans I have specifically marked for their use of the term as is apparent from the suspense.

The first is a simple exchange of glances between two characters, after a third vienna to die in their arms. One of the robbers does not want to abandon his fallen comrade, while the other encourages it to flee before it is too late. By placing the two actors in the same frame, the filmmaker gives the viewer the opportunity to explore the conflict generated by the situation. Julien Leclerq has the intelligence to make it last this plan despite the urgency of the situation, demonstrating perfectly that speed is not haste.

The second plan comes in the last ten minutes of the film, while one of the robbers walking in a parking lot sub-ground, the package committed. The accumulated tension throughout the film makes the character and the viewer paranoid about the immediate environment. The camera attaches only to follow the face of the robber during a very long minute, back in the blur of the depth of field any potentially dangerous. The character is on the watch, we also.

“ROBBERS has nothing of revolutionary, but turns out to be a mechanical watch solid from the beginning to the end of that scenario.”

In its premises, ROBBERS has nothing of revolutionary, but turns out to be a mechanical watch solid from the beginning to the end for which is the scenario, enhanced by a realization of the visceral and perfectly suited to the story. It seems at first sight in the land known, but every character or situation will eventually escape us, and, therefore, surprise us. The pleasure of Julien Leclerq to work within the sub-genre of the film turning is evident. Like any good writer he knows what codes to use, but also sometimes, how to get rid of with malice.

Thomas Coispel

STRONG, EFFECTIVE and efficient. This may be the adjectives that characterize the best VILLAINS. The charism of the film comes from a true patience to build character, empathy, and voltage, independently of the canons of the genre. The flm of Julien Leclerq is and his personality in this trust in the story, its characters, and especially the spectator, for whom nothing is ever imposed or made too obvious. A surprising genre film French, which we hope will find its audience in spite of a certain requirement.

Georgeslechameau