andrew-87-904401

This looked promising, a serial killer drama. Mel Gibson is watchable and his involvement used to mean you were in for a good time, but not on this occasion. Thinking back, I can't remember the last really good film he was in. This pattern is familiar. Could he have aphasia?

In fairness, he's not in it much - annoying, as that's why I watched it. His role, like everyone's, is bland and directionless. There is no chemistry between the characters. The film moves along without much happening, reaching an unsatisfactory non-conclusion.

It's not terrible. If Mel was not involved, it might appear slightly better. But the implied quality from his presence leaves you feeling even more disappointed.

I hadn't seen this for years, so thought a rewatch was in order. Paris of the time is beautifully captured, the leads are good, there's a tumultuous score, but not much else.

The story is quite dull, as are the self-obsessed characters. The setup is implausible, even by 70s standards - not that I was an adult at the time. What Gen Z make of it, I can only imagine. It jars badly with contemporary culture. There's more casual nudity than you might see in now, but the sex scenes aren't erotic or interesting. The pace is slow. The ending is an unlikely surprise.

A point of interest for me was the street, Rue de L'Alboni (misnamed in the film), which is where the policewoman scene in Mission: Impossible - Fallout takes place (at the other end, twenty seconds away).

This isn't a classic. Its notoriety is a result of the sex scenes. It was an early example of its kind, but by the 90s, such films had become unfashionable. Nothing like it is produced now, and for that reason - and the period - it's worth watching at least once.

I knew only the gist of this film when I started watching it. Fifteen minutes in, I found the subject matter difficult to stomach: Rosamund Pike imprisoning and ripping off the elderly. Admittedly, it was done with a mild, dark humour, but it was unpleasant enough to consider stopping there. Enter Peter Dinklage, and the film takes an interesting and welcome turn. An enjoyably escalating series of events ensue. That continues up to a point where believability is tested - firstly with the plausibility of confrontations, then in the behaviour of characters. It results in an unlikely and unsatisfying conclusion, but it does save itself at the end - thank goodness, as I'd have been very unhappy. Overall, better than much of what is streaming, but not something I'd have gone to the cinema to see.