REVIEW: The Harder They Come

The Harder They Come
Director: Perry Henzell
Year 1972

The Harder They Come is an impressive and intimate film about a young Jamaican man named Ivan Martin, played by an outstanding Jimmy Cliff, who decides to move out of the country and into the city. He arrives in the big city of Kingston with dreams of making a name for himself in the bustling reggae music scene, but comes to find that life can quickly spin out of control and fame definitely has a price. This movie is one of Jamaica's most accomplished films and it really gives us an inside look into the poverty stricken life that Ivan struggles with on a daily basis. That's one of the most appealing aspects of this film. I love the raw nature of the piece as it revels in all its gritty detail and dire consequences.

Ivan day dreams of being a reggae star.

After coming to the realization that it isn't so easy to get your foot in the door in the music industry, Ivan is forced to deal drugs to make ends meet and he begins to get involved with a not so kind hearted group of friends. This effect that the darker side of society seems to have on Ivan, starts to fester as the film moves along and his once innocent persona begins to be tarnished by the corruption of the poverty filled society and the idea of doing whatever it takes to survive and make a name for himself. The struggles that Ivan endures throughout the film is a testament to the realism that director Perry Henzell brings to this story. Everything on screen seems believable and you don't question if this is indeed how Jamaican society had worked during the 70's. The narrative just seems to suck you right in and you accept the rules and details that are thrown at you.

Domino mother fucka!

Jimmy Cliff does an amazing job with his character of Ivan and you can really feel the longing that he has in wanting to be a musician and get his record played on the air. Cliff plays Ivan with a soft and curious exterior in the beginnings of the film, but as his character is tested and his moral fibers brought to the brink, we are given a deeper view into what makes Ivan tick and we're shown a man that is instinctively reacting to the constant threat of his dreams being destroyed. He's a sympathetic character, even if he later proves to have some darker tendencies and violent inclinations, because at the heart of his  beliefs he just wants to get his message across and place his name in history through the act of music. His intentions are so genuine and pure at the beginning of this film, that we forgive his many faults and understand that he is living in a hard world that is very unforgiving, even on the innocent souls that inhabit it.

Ivan finds the perfect accessory for his Rock Band party.

The locations and overall look of the film is absolutely outstanding. Some may think the gritty and washed out look of the film is amateurish and possibly pedestrian, but I think it adds to the charm of the film and helps us to be transported to this lifestyle that not many people are accustomed too. Like many films from the 70's, I'm really drawn to the washed out colors and abundance of warm hues that come from this era of filmmaking. With these kind of films, the believability of the tonal elements help bring the realism of the narrative to life and blows absolutely anything that has been recently filmed out of the water when it comes to replicating the feeling of real life.

The glossy look of the new films tend to bend towards the CGI aspects of filmmaking and to my eye, this is far from replicating life, so I've always felt that the 70's era of cinema always seemed like the most true representation of the gritty and imperfect world that we live in. This time period just produces films that are so substantial and steeped in realism. The Harder They Come makes good use of their locations and budget, by filming right in the heart of where their story is taking place. We have no sound stages or hollywood film lots, just the living breathing thing and nothing can be better then that.

Could you please pull over. My ass is killing me.

The violence that is portrayed on the screen is quite visceral and is thrown in your face, not for shock value or exploitive purposes, but to get the point across that this world that Ivan inhabits, tends to be quite violent and dangerous. The film shows that the danger is not necessarily in the threat of ones life, but the inclination that a person has to be drawn into a moral descent where their beliefs are being corrupted at the sake of their survival. We watch as Ivan becomes more and more like the people he hangs around with and the situations that he gets involved with are all the result of the company he keeps. His pivotal stabbing of a man shows this horrible descent in vivid detail and this one act helps propel his character into a realm that he never believed he'd be in both with fame and infamy.

I'll cut you man! I'll cut you!

The soundtrack to this film is phenomenal and if you're at all into reggae, you will be in heaven. Jimmy Cliff lends his expressive vocals to many of the tracks and we're also given some great songs by various reggae artisans. The music in this film, really paints a clear picture for the movie and sets it in its own setting and place in time. The tone and atmosphere are changed by the rhythmic beats and it truly sets the story apart from anything outside of the Jamaican culture. The music is so steeped in tradition and the native culture, that it helps with gauging the audience in the life of Ivan and helping us believe that he is a real person with a family and history like anyone else outside of the celluloid frame. Overall the music transports us to a place that feels tangible and gives an enormous amount of credibility to the narrative, setting up a world that thrives in abounding authenticity. 

The hills are alive, with the sound of reggae.

The Harder They Come also deals with the corruption that lies within the music industry in this region and place in time. The record company that allows Ivan to have a recording session, begins exploiting him for money and then later exploiting his infamous status as a cop killer and political hero. No publicity is bad publicity, is a perfect line for Ivan's situation, because the more crimes that he commits and the more his name is being thrown around in separate circles, the more his legend begins to grow until it begins to spin wildly out of control, allowing people to begin making their own depictions of his character and morality. It's interesting how the assumptions of others can change how the world views us and our actions, even if they were done out of pure survival and innocent intent. This film balances some pretty heavy concepts and pulls it off rather nicely while letting us follow the complicated life of Ivan Martin.

Ivan is one cool mother. Shut your mouth! I'm just talking about Ivan.

The metamorphosis of Ivan's character is very interesting to see unfold. He starts out as a quiet and almost timid country boy and then proceeds to change into a more outspoken and cocky individual as his record career begins to ignite. His appearance even changes as he ditches his old threads for a new and more flashy look, leaving his old life behind and embracing the new and robust lifestyle of a musician. This film can even be pegged as a coming of age tale for Ivan. He begins to mimic the artists that he idolized as a young and impressionable youth, taking on a larger then life persona. This same mimicry, is reflected in the closing moments of this film, when Ivan comes out with two guns in hand in a standoff against the police, like a scene that he saw earlier in the film at a movie theater where a gunslinging hero takes on an army of bad guys. I almost feel that by the end of the film, Ivan had lost all sense of reality and was living in some kind of fantasy world where in his mind he was practically invincible. It's interesting to think about and whether it's true or not, you can't deny that the filmmakers have done a wonderful job in making a film that can be taken in so many different ways.

Your beard is enchanting.

The beliefs and morals of Ivan's character are worn on his sleeve and embedded in his lyrics. He sings them with pride and gives such a charismatic edge to his potent words, that it's unsurprising that the community in this film take his lyrics to heart and find strength within them. Even when he accidently murders a cop while defending himself, the community rallies behind him. Not everyone is on his side though and people that he affiliated himself with in the early parts of the story decide on turning him over to the cops, in fear of repercussions from the powers that be. One man in particular that Ivan thought was his friend, betrayed him and this cowardice act effects Ivan in so many ways, and makes him into the person that he is by the end of the film. Ivan says in his hit song, "I'd rather be a free man in my grave than living as a puppet or a slave". With this statement, he makes it his mission in life to pay back the man that manipulated him and eventually sold him to the cops. It's a nice small dosage of a revenge film thrown into the mix and it plays off nicely, giving Ivan an injection of strength and pride throughout the community and thereby solidifying his supporters beliefs that he is truly a political hero.

Good, Bad.. I'm the guy with the gun.

As Ivan's infamous status begins to rise, the film shifts gears into almost gangster type territory, shadowing movies like Goodfellas, Casino, and even Scarface, where the main hero of the story isn't exactly a good guy but we root for them anyway. There's some valid points in comparing The Harder They Come with Al Pacino's classic film Scarface, because both Tony Montana and Ivan Martin come from poor backgrounds and then after involving themselves in the drug trade, they become infamous men. There's also a certain style that both films share that are only separated by the cultures that each film inhabit. Both are visceral films that thrive on the charisma of their main character and rely on the gritty content of the story to pass off as believable to the audience.

Ivan is styling and profiling.

Jimmy Cliff's portrayal of Ivan's descent into the crime world is played with stark realism and respectful affirmation to his characters validity. Never does he stray into campy trappings or over cliched stereotypes. He always presents Ivan as a grounded person who is dealing with the situations that are being thrown at him in a natural and believable way. In keeping the story centralized on Ivan's character, the director was able to allow Jimmy to focus in on what drives Ivan and also allowed him to flesh out the man behind the legendary status. Ivan's tale is larger then life, but we never feel like his character has outgrown the trappings of his environment or that he has unexpectedly fallen into a parody of his former self. The straightforwardness of Jimmy Cliff's performance is without question, one of the high points of this film and in my opinion, one of its many saving graces.

It's Ivan's yearbook picture. It was a tough school.

Like all good antiheroes who try to reach for the stars only to go too far, Ivan becomes his own enemy throwing caution to the wind and challenging the world to take him on. His larger then life ego has sent him on a journey that he cannot come back from and the only way out is in a blaze of glory. The climax is rather sudden in this film and you'll be kind of shocked that it ends on such an abrupt moment, but I think it works perfectly for the kind of story that was being told. We've followed with Ivan's character almost exclusively and it seems perfectly fit to cut to black after Ivan's story comes to a close. We need no explanation on what else happened or how everyone else's lives are wrapped up in the world. The only thing that matters is how Ivan's infamous journey ended and I think it concluded on a satisfactory note resembling the realism that proceeded up until that final point. It's a special tale and I wouldn't change a thing.

Quiet. Ivan is hunting Jamaican pigs.

The Harder They Come is a film that is in a class of its own. It has many elements from various movies, but what holds it all together and gives it a voice of its own is the amazing portrayal of Jimmy Cliff's Ivan and the miraculous soundtrack. Cliff's vocals resonate a sound of victory and hope, one that unfortunately for his character was never able to obtain for his life got caught up in the darker counterparts of society. The cautionary tale of obtaining fame and the consequences that come with it are seen and heard loud and clear and the filmmakers created quite a spectacle that still hasn't been topped in its native country. This classic film is a beacon to those who have a dream and have the desire and fortitude to follow through with it, even if it doesn't end up in the way that you'd hoped, at least you can say that, "I'd rather be a free man in my grave than living as a puppet or a slave." No truer words have been said to better summarize the essence of Ivan Martin's story of his quick rise and inevitable fall from grace. This is a must for any cinema fan.

4 out of 5 stars     Jamaica's Character Driven Masterpiece!

TITLE SEQUENCE: The Harder They Come

In honor of my upcoming trip to Jamaica, I've decided to talk about one of Jamaica's finest films, the 1972 masterpiece The Harder They Come. First up is the wonderful title sequence that gives us a beautiful look at the countryside of this unique nation that's abundant with culture and brimming with astounding visuals. The Harder They Come is directed by Jamaica native Perry Henzell and stars musical sensation Jimmy Cliff as an aspiring musician named Ivanhoe Martin, whose desperate to make it in the music business. I'll be putting up the full review later tonight, but for now check out the opening title sequence from The Harder They Come.

REVIEW: Zeder

Zeder
Director: Pupi Avati
Year 1983

Zeder is the thinking man's italian zombie film, opting for holding back on the blood and gore and instead choosing to focus on a strong narrative with an abundance of mystery and intrigue, all packaged in a morbid setting. Pupi Avati brings an amazing tale of the world of the unknown, where corpses become reanimated by special locations known as K-zones. These mysterious sacred grounds, much like in Stephen King's Pet Sematary, activate something in the dead that are buried there and bring them back to life, but not in the persona of their former living self. Many people believe that Avati originated this concept and that King might have picked up on it for his novel, but who really knows. Each iteration of this idea is unique for each artist, so there really isn't any need to delve into who ripped off who. The only branching similarity that they have is the idea that a corpse can be reanimated if buried in a specific location, the rest of the story for both films and originating novel are totally different and they each bring something unique to their proceedings.

Stefano tries to decide who he will plagiarize.

In the beginning moments of this film, we are presented with a few scenes that introduce us to the concept of K-zones and of the select group of people that know about their existence. It's brief and ambiguous, but it lets us get a feel for the world we are about to step into. We make this giant leap with a man by the name of Stefano, played by Gabriele Lavia, who is a young journalist that has just received a new typewriter as a gift. While writing up a piece, he stumbles across a strange mystery that has been embedded into the ink ribbon of his newly obtained typewriter. He manages to reconstruct an unbelievable tale about a scientist named Zeder, who discovered the existence of K-zones in 1950. This intriguing discovery propels Stefano on an amazing journey into bringing light to this spectacular story and uncovering its validity.

Stefano finds out that working with a

typewriter is a huge pain in the ass.

Pupi Avati is a genius of his field, that really doesn't get the same recognition as his italian counterparts like Dario Argento, Mario Bava, or Lucio Fulci. It's really a shame though, because he has remarkable skill that shines in both Zeder and his other acclaimed giallo, The House With Laughing Windows. You can see the visual style that Avati has in each of his films, showing his impeccable eye for visual compositions and his knack for giving the audience something that they've never quite seen before.

Now are you going to confession willingly, or am
I going to have to drag your sinning ass in myself?

The mystery in this film is laid on thick, and Stefano plunges in with both feet, even gaining some assistance from his lovely lady friend Alessandra, played by the beautiful Anne Canovas. They follow various clues that lead them across the stunning countryside and sun baked venues of Italy, giving us an intimate glimpse into these grandiose locations. That's one of the main things that really draws me to the italian films of the 70's and 80's. The locales are always filmed so beautifully and with Zeder, Pupi Avati does an impeccable job of presenting it all to the audience in a mysterious and outlandish fashion that never skimps on style.

Stefano is just too cool for school.

One of the main attractions that really makes Zeder shine, is the use of its locales, especially in the instance of the expansive abandoned building that the film focuses on during the last part of the film. This massive structure has so much character and exudes such a foreboding presence, that it sufficiently adds to the atmosphere of the film and brings a unique aspect to this already rich film. The strange hollowed out center of the building, sets up some interesting and unsettling sequences that really hit the mark later on when Stefano searches the innards of this architecturally bizarre building. Avati hit gold when deciding to film at this location, because the images of this exquisitely obtuse building have haunted me for years, taunting me as I searched for a decent dvd edition of this unforgettable flick. Finally, after viewing it recently, I've found that the memory of this special place hasn't faded a bit.

Our first glimpse at one of the weirdest buildings in the world.

The amount of mystery that is overabundantly apparent in this film, is quite a treat and a welcomed change from other zombie outings of this era. The strangeness of it all is brought to a boil, when Stefano finds an empty room inside the hollowed out building, that houses rows of television screens, all with the single image of a dead corpse on them. This morbid find is unsettling to say the least, and the fact that there isn't a soul in sight makes the discovery all the more disturbing, yet intriguing at the same time. The balance of horror and mystery that Avati crafts in this film is unparalleled, and the fact that he gently builds up to this event is well appreciated. Not many zombie films have opted to go this route. Avati gives us a detective story that draws away from the traditional zombie attacks, where people desperately try to survive the undead's merciless appetite and pension for destruction, and instead shows us a story about a man following the trail of previous zombie attacks and trying to put the pieces together on what it all means. This film is unique and I love it for that very fact.

Oh crap, not grandpa's home videos again!

When we finally get our first glimpse of a walking corpse, it comes as quite a shock for the audience and the main character. Avati sets up this disturbing encounter in a clever way. He places Stefano far from the overbearing walls of the decrepit building that contains the room of monitor screens of the resting corpse, and places him off the grounds at a motel where he watches from afar using a telescope. This act of placing the main actor far from harms way, gives the audience a chance to relax and sets up a startling scene where Stefano's eyes are fixed on a set of windows when a lumbering zombie comes walking into view. The undead creature turns slowly and looks directly in the view of the telescope only to disappear down a flight of stairs. This shot is brief but quite effective, leaving you with a cold chill at such an odd and unprovoked sighting.

Run kids! It's old man Johnson!

Now, just because this is a thinking man's zombie film, doesn't mean that there aren't a few traditional zombie moments in this flick. We are given some deaths that, though not shown on screen, still leave a ghastly impression as our main character stumbles onto the grizzly aftermath of a zombie feeding. The decision by the director to stay clear of the italian horror tradition of showing all the gory goodness, is quite understandable as Avati is determined to make a film of his own accord and sensibility that sets itself apart from the other 70's and 80's horror outings, yet still pays homage to those great films. You get a sense from this film, that it is a toned down version of something Fulci or Argento would churn out in their heyday of violence and gore, but still keeps the atmosphere that those legendary directors are known for, intact.

One of the many molested boys, finally pay the Catholic church back.
Why has there never been a slasher film based off this concept?

We also are treated to some creepy visuals of a rotting corpse clawing its way up from under a wooden floor, as it rips its way through the floor boards in order to get at Stefano's frightened flesh. Another memorable moment is when a pair of decrepit zombie hands come out from the side of a underground tunnel, to choke the life out of an unsuspecting vicim. These moments are great and add to the already extensive collection of memorable zombie moments, like the insane eye ball stabbing scene from Lucio Fulci's Zombie, or the many blood filled zombie feasts of any of George Romero's Living Dead films. Avati may have not brought the gore to his masterpiece, but what he lacked in blood he made up for in clever mystery and haunting atmosphere.

And he promised himself that he wouldn't crap his pants today.

That haunting atmosphere can once again be thanked by the perfect location of the architecturally decrepit abandoned building. The scenes where Stefano is wandering around the darkened hallways of the complex looking for the walking corpse, are absolutely astounding in their quiet tension filled silence. Guided by only a flashlight, the shadows and lighting of these scenes are both interesting and beautiful, especially when a severed head pops onto the screen without a killer in sight. It's the things that we aren't shown in this film, that really set the tone and pace of the film. We never know what lies just beyond the shadows or what horrible menace has ripped this man's head from its body. It's all left for the audiences mind to play out and the technique works by allowing the viewer's imagination to spin wildly out of control.

Now who threw out a perfectly good head?

It's those moments of silence that really end up making a huge impact on the narrative of the story. Avati patiently sets up all of his impact points with a slow and methodical presentation that lays out the pipe-work for the inevitable shock and awe of the horror moments. He masterfully lets the moment at hand sink in, just before pulling the rug out from under us, as a haunting realization presents itself on the screen. The moment Stefano's character reaches the monitor filled room for the second time and witnesses the dead corpse come to life and beginning laughing like a loon, we know for a fact that Avati can set up some rather impressive sequences that really hit home and dish out the fright. That unsettling moment is so memorable and it works on so many levels.

Reality TV steps it up a notch with its
24 hour coverage of corpses. Exciting!

When it comes to Zeder, pace is everything and it's inherent in everything that Avati does with this film. He takes his time to weave an intricate tale of mystery and intrigue, while dangling a meaty notion that the dead can come back to life. That earth shattering concept of the dead living again, isn't the main focus, but the long journey of discovering that fact is the main idea that helps move this film along. It's this idea of discovering the unknown, that drives Stefano's character, and allows us to appreciate the calming moments during his journey up until he finally comes face to face with the horrible truth. It's all classically done and carefully plotted out, enabling us to appreciate the entire journey that Stefano's character has gone through to reach this climactic end. This is definitely a zombie film that goes against the grain, yet still manages to keep the traditions that make these films so intriguing.

Just taking a stroll and stretching out the rigor mortis.

Zeder is a film unlike any zombie film you've ever seen before. It has the patience and skill to build a sense of doom that escalates unto its final closing moments. For a film that feels like a mystery or detective story, yet somehow still abides by the zombie formula, we are given an intimate journey of one man's discovery and unyielding determination to uncover the truth. I fully appreciate what Avati was able to do with this film. He took a genre of film that usually follows the old tried and true plot of getting a bunch of people together and having them fend off hordes of zombies and turned it into a more personal story about proving the myth behind reanimated corpses. Now don't get me wrong, I love the traditional zombie films that Romero made popular, but this new take is a rather refreshing change and one that I hold with high regards as it sits in my zombie film collection. I highly recommend this unique zombie film to anyone that enjoys tales of the undead or intriguing mysteries of the italian persuasion. 

5 out of 5 stars      A Unique Zombie Film Filled With Mystery!

REVIEW: Dobermann

Dobermann
Director: Jan Kounen
Year 1997

Dobermann is a rabid and fast paced French heist film with teeth to bare, brought to us by director Jan Kounen. The film stars Vincent Cassel as a master criminal named Dobermann, who leads a group of ruthless bank robbers on various blood inducing heists. Dobermann has been a killer since birth and he obtained his first gun at his christening when only an infant. What a bad-ass. Dobermann leads his gang in a daring bank robbery that leaves bodies bleeding in the street and the cops running around like chickens with their heads cut off. This balls to the wall heist is accented all the more outrageous by the vibrant cast of interesting characters both from within the gang and from outside the group.

Cassel, being the bad-ass he was born to be.

Dobermann's main squeeze is played by the real life wife of Vincent Cassel, the gorgeous and alluring Monica Bellucci. She plays the beautiful but deadly mute Nathalie, whose pension for explosions and over the top kills is unparalleled. She has Dobermann's back full fold and takes anyone out who messes with him. This sounds like the perfect premise for a 70's grindhouse flick, and in a way it caters to the same crowd. There is enough exploitive elements of over the top violence and incisive gore that any lover of the sleazy nature of those flicks will jump for joy over this unabashed display of lead fueled bedlam.

Bellucci, being the hot bad-ass she was born to be.

There's also an array of outrageous characters pursuing Dobermann's gang within the police force. One of the most outstanding and interesting characters out of this lot is Inspecteur Sauveur Christini, played by the intense all around baddy, Tcheky Karyo. You may remember him in La Femme Nikita, Bad Boys, Goldeneye, The Patriot, and most recently the appropriately titled vampire comedy romp, Vampire Party. In Dobermann, he plays the role of Vincent Cassel's nemesis who will stop at nothing to bring Dobermann's antics to justice, even if it means killing him in the process. He brings an even harder edge to the already abundant toughness that thrives in this film.

What the hell are you looking at?

Dobermann isn't just a mindless action film focused solely on brutal gunfights and octane filled violence. It's got all of these ingredients, but it also throws some comedy into the mix, making it an even more entertaining spectacle of momentous proportions. Monica Bellucci's character cannot speak, so this sets up a few hilarious moments where she is swearing at someone using sign language or using crude motions to depict a raunchy act. It's funny as hell and a bit unorthodox for such a high caliber actress, but she pulls it off with great accord and endless amusement. Plus it's great to see her having the time of her life firing off guns that are twice her size.

Monica believes that size does matter.

The entire heist sequence is a real treat as the madness of the bank robbery unfolds and begins to spin wildly out of control. The characters cast in this predicament begin going ape shit, driving the intensity level sky high and in doing this, they give us an entertaining as hell escapade to watch. It's fun to see the carefully laid out plans that the group had put together, being cast to the wind once the whole project begins to fall apart and go astray. There is such an intense approach to these sequences and you really feel the frantic experience of bum rushing a bank and demanding they give you all of their money. Great job in the directing department by Jan Kounen, because you feel the raw power of the theft and are transported to that hectic moment.

This is a moment where the shit really does hit the fan.

Vincent Cassel shines in the title role of Dobermann and his charisma carries the film along from each set piece. He is the glue that holds this entire crew of bank robbers together and he's also the foundation that this film stands on. Vincent has always put his all in every movie that he has appeared in and he's created so many memorable characters in such films as La haine, L'appartement, Crimson Rivers, Brotherhood of the Wolf, Irreversible, and Reckoning. The list goes on and on. In Dobermann, he does such an excellent job in this film that I'm really looking forward to checking out his new crime epic Public Enemy #1, where he stars as the real life french gangster Jacques Mesrine. This film looks intense and I wouldn't expect anything less from such a gifted and painstakingly cool actor.

Cassel even looks cool in a shitty junk yard.

Another memorable blood bath occurs inside a night club after the gang has successfully escaped from the bank robbery. Inspecteur Sauveur Christini and his men have surrounded the club and order a swat team to storm the building. The amount of gunfire and chaos that scatters the club in these moments is startling and awe inspiring. The whole sequence is like an acid trip with lights flashing and techno beats blaring from all angles. The director really takes charge with the movements of the camera, and we are treated to many energized tracking motions and dizzying zooms that really reflect the nature of the pulse pounding scene.

Get that camera out of my fucking face.

The soundtrack to this film is also amazing and reflects the visuals that are smashing across the screen. In this particular sequence of the cops raiding the dance club, the thriving beats are courtesy of the band Prodigy as their song Voodoo People blares over the speakers, setting the pace for the rhythmic gun fight that blasts the frame. It's beautifully shot in all its chaos and everything moves with a slick kinetic flavor, that it's virtually impossible not to be swept up in all the carnage and gunplay. This scene is definitely one of the high moments in Dobermann and the visual flare set upon this sequence is top notch and rivaled by a very few in action cinema.

Fuck the police! Fuck the police! Fuck'em!

The cinematography in this film is also rather unique, bringing a gritty stylistic realism to the look of the overall film. There's a primary use of bold colors and unique visuals that emphasize the vivid world of Dobermann and reflect the lively characters that inhabit this mad world. This is far from a stagnant world and the director does an excellent job in matching the sweeping and artistic presentation of his camera movements with the overpowering color palette that he presents before us in all its gory detail and blood filled lust. Dobermann is definitely a film that makes you sit up and take notice as you're bum rushed with one impressively graphic shot after another.

Dobermann is taking care of business.

Of course, as I've mentioned numerous times, the violence is top notch in displaying this mad cop killing world that the director has set up. We are treated to explosions that send bodies soaring into the air, bullets that hollow out criminals as their blood is splattered against filthy walls, and there is also a memorable sequence where a motorcycle cop gets his head blown clear off from a grenade that is set carefully inside his bike helmet. These unique moments and creative sequences really set this film apart from other action films of this type. What this film has over the others is that it has balls and never holds back giving the audience more of what it craves, unabashed violence with a sense of cool style.

Flying shish kabobs, courtesy of Dobermann and his crew.

Another interesting aspect of this film, is in the character of Inspecteur Sauveur Christini. He is so driven by his lust to bring Dobermann in, that he ignores police policies and procedures and pulls out all of the stops to take Dobermann down. Christini almost matches Dobermann's ruthless personality as he tries desperately to find a way to stop his crew from succeeding. What makes this so intriguing is that there really isn't any true good guy in this film. We root for Dobermann and his gang, but they are far from the hollywood archetype of a decent or morally sound character. The society labeled good guys of the cops are also far from that stereotype, all having their own vices and lust for power. It's even safe to say, by the end of the film that Inspecteur Sauveur is in fact a full fledged bad guy as he brutally enacts his own form of viscous justice. Dobermann is a hard film with a slew of hard characters to enrich its landscape.

That Inspecteur Sauveur is hard as hell!

The overall tone of this film is grim, even though it has a very Hollywood style ending with most of the main characters making it to the end of the film with their lives. The effects of what they went through though and the friends that they've lost along the way, leave a morbid overtone to the closing moments of the film. It's a great spin on the happy ending that usually creeps its way into films and this new style depressing end is much appreciated and surprisingly realistic for such a fantastically over the top film. It's just another example of how Dobermann has the balls to change the equation up a bit and never hold back from an original idea that sets it apart from its predecessors.

Cassel, still cool, yet jaded by the end of the film.

Dobermann is one of the finest and most enjoyable rides you will ever take in an action extravaganza that pushes the limits of what can be put on the screen in good taste. With all its lavishly mad characters, fantastically energetic action scenes, and pulse pounding soundtrack, this film really lays on the fun with one heavy dose to your cranium. I highly recommend this to anyone that enjoys fast paced action films that up the anti in a wild display of bullets, blood, and personality.

4 out of 5 stars    A Balls to the Wall French Action Film With Guts!