Note: If you are a French screenwriter and want to prove that your script is so much better than the kind of films France is making, send it to me at carsonreeves3@gmail.com.  I’ll review whatever query best catches my interest.  Include the title, logline, and script attachment!

Genre: Dramedy (foreign)
Premise: (from IMDB) After he becomes a quadriplegic from a paragliding accident, an aristocrat hires a young man from the projects to be his caretaker.
About: The Intouchables became the highest grossing non-English-speaking movie in France’s history, taking in 166 million dollars. But what’s really surprising is how well it did internationally, taking in 281 million dollars, unheard of for a French film. The film won many awards, including the Cesar for co-lead Omar Cy. In short, it’s the best film to come out of France in years.  The film is available for free on Netflix streaming right now!
Writer: Olivier Nakache and Eric Toledano
Details: 112 minutes

intouchables11

Bon Appetit!

Oui, you read that right. It’s FRENCH WEEK. I’ve been so inspired by the Musee D’Orsay, the Tour D’eiffel, the Metro, the patisseries, the boulangeries, the pan au chocolates, that I couldn’t NOT do a French week. I mean take a stroll through Montmartre (where Amelie was filmed) and tell me you wouldn’t trade your eldest son to live there for just one day.

Also, while in France, I learned a lot about the French movie industry and why they make such crappy movies. I’m going to save those discoveries for Thursday but let’s just say it’s a LOT easier now to understand why French movies are so terribaux.

Which makes the success of today’s movie all the more confusing. The Intouchables was that rare French film that got it right. Despite seemingly taking the same approach as most other French films (a fairly plot-less drama focusing on the lives of people with the occasional touch of comedy). For that reason, I had to look closer. What made this film break out of a formula that, according to most moviegoers, doesn’t work? Because I’ll be honest, I haven’t been the biggest French film fan. But this one was good. And I believe it comes down to the script (doesn’t it always!). It may behoove the French to take a better look at this script, then, to understand why The Intouchables found so much success.

For those who haven’t seen it, The Intouchables is about a very rich Frenchman, Philippe, who was paralyzed after a hang-gliding accident. Years later, he lives in his beautiful mansion, bound to a wheelchair as a paraplegic, millions of dollars in his bank account, yet not a single penny can give him what he wants most, to move again. To put it bluntly, Philippe’s life is at a standstill.

To make matters worse, everyone who does come in contact with Philippe (his business associates, his lawyer) treat him with pity. And there’s nothing Philippe hates more than pity. Enter Driss, a blunt African immigrant who’s applying for a job as Phillipe’s caretaker. The funny thing is, Driss doesn’t want the job. He just wants his application signed so he can claim that he APPLIED for the job, which will allow him to keep collecting welfare.

Of course, Driss’s casual reaction to Philippe’s disability is exactly what Philippe’s been looking for! So Driss quickly finds himself hired. The two become friends almost immediately, with Driss not afraid to make fun of Philippe’s shortcomings. Driss teaches Philippe to not be so uptight all the time and Philippe teaches Driss about art and culture.

Eventually, Driss learns that Philippe has been exchanging letters with a woman he’s never met. The two have formed a close relationship, but she doesn’t know about Philippe’s disability. Driss encourages Philippe to send her a picture, which Philippe does, though he secretly sends one of himself before the accident. Eventually, the moment comes where the woman wants to meet, and Philippe will have to decide whether to take what he learned from Driss and show up or throw a shot at happiness away.

At first, it’s hard to determine why this movie works. From a traditional standpoint, it’s kind of strange. In these stories where there’s a central coupling, there’s almost always a clear conflict between that couple. For example, when you have a love story, the conflict might come from the two butting heads (The Proposal). Or if it’s a buddy comedy, the two might hate each other (The Other Guys). Here, Philippe and Driss become best friends almost immediately.

There is Driss’s initial reluctance to take on the job, but it ends quickly, and a couple of scenes later, the two are laughing it up. It took me awhile to figure out why I was enjoying the movie still, despite the lack of conflict, and I realized it’s because we tend to enjoy watching friendships develop, especially friendships where the two parties would normally never interact with one another. I know it sounds silly, but darn it if it doesn’t make you feel all warm and fuzzy inside.

But what sets this script apart from all those other French films is that it adds structure to its story. A plot thread emerges that gives the story focus. That thread is, of course, the woman Philippe writes letters to. Now that Philippe has a GOAL (the eventual meeting with this girl) and that goal has STAKES attached to it (he’s fallen in love with her, tied all his future hope to her), we have something to look forward to. If not for that, we would’ve been stuck watching a couple of guys laughing for two hours. That would’ve eventually gotten boring, no matter how much we liked the two of them.

I recently watched a French movie on Netflix, for example, called Russian Dolls, that was one of the worst movies I’ve seen all year. And, not surprisingly, it had all the French trappings embedded in its fiber. We watched multiple people simply “experiencing life” in France. There was no rhyme or reason to who we cut to or why. There was a main character, but it was never clear what he was doing. He may have been writing a book, but why and for what purpose, I don’t know. That film failed, in my opinion, because it didn’t have that structure, it didn’t have that overriding central plot thread that the audience looked forward to.

I come back to it again and again on the site, but that’s because it works. Give your character a GOAL and the reader starts caring. Even if you’re writing a drama centered around “characters experiencing life” that doesn’t involve the mafia, or bank robberies, or robots. Give you main character something he’s going after. It’ll pull what are otherwise a bunch of drifting characters into a plot orbit.

Part of the problem here – and this seems to be very much a French problem – is that the French writers and directors (who are often the same person, which is part of the problem) believe that if they just explore life’s randomness, that their movies will be entertaining because they’ll be “lifelike” and “real.” Nothing could be further from the truth. If we don’t feel like we’re pushing towards something, if we don’t believe that all of this has a purpose, we lose interest. If we wanted “real life” we wouldn’t be at the movies, would we? We can get real life from…err… REAL LIFE! Movies are “exceptional life.”

Another reason the script works is because there’s a fascinating irony at the heart of the main character. Here is a man who “has” everything (all this money!). And yet he can’t enjoy any of it. For whatever reason, audiences love watching that. This movie doesn’t work, for example, if Philippe is poor. It’s only because he’s rich that we’re captivated. This is why it’s important to really think about your main character before you write your script. Is there something fascinating about him/her? Are you getting everything you possibly can out of his character? If not, rethink the character.

The Intouchables proves that whatever kind of script you write, a summer blockbuster or a character-driven drama, at the heart of your story should be some sort of objective to tie all the loose strands together. A lot of these French films would be better served by following this simple advice!

[ ] what the hell did I just watch?
[ ] wasn’t for me
[xx] worth watching
[ ] impressive
[ ] genius

What I learned: Add an Element of Danger – You can enrich your story by adding an element of danger to one of your characters, the possibility that they might do something or are capable of something bad. Here, Driss has a criminal record, which Philippe’s lawyer points out to him. This choice lines the story with an impending payoff of this danger, something that because we’re told to anticipate, we pay more attention. In other words, it’s yet another subtle trick to keep a reader focused.

What I learned 2: Beware the car crash backstory! – Beware giving any character who was in an accident in your script the “car crash backstory”. It’s the easiest and most obvious of all the accident backstories and therefore draws rolled eyes from experienced readers. Instead, go with an accident that more organically represents your character. Here, Philippe injured himself during a hang-gliding accident, very much a “rich man’s” leisurely activity. That’s the kind of backstory that feels organic and honest, so it’s no surprise that it adds even more to Philippe’s character.

  • http://www.jorgeosvaldo.com/ Jorge Osvaldo

    I’m sure Carson’s dismissal of all French cinema is meant to provoke and start a conversation, so I won’t bite and start listing great French films just to prove him wrong. Instead, I’ll acknowledge that the French follow a very different template from most other film industries.

    French cinema focuses almost exclusively on character studies, which may come off as solipsistic, but can also lead to great stories that examine the lives of interesting people. I was inclined to argue that financial limitations forced this template upon their film industry, but that argument doesn’t really hold up since Hong Kong cinema in the 80’s was capable of producing incredible action-thrillers with just a couple of guns and a few gallons of fake blood.

    I think that the view of French cinema as a snore-fest is a matter of perception. The French film industry remains the third largest in the world, but Americans only tend to see a very small percentage of these films. By necessity of economics, I’m sure the films they export are the broadest, least offensive films that they produce (in the same manner that we inflict Battleship and John Carter on the rest of the world).

    We expect a certain kind of film from France, and that’s exactly what we get. Similarly, the rest of the world thinks that Hollywood is solely a purveyor of movie atrocities based on toys and amusement park rides, and that’s exactly what we give them. The French don’t expect that American films are capable of producing slow-burning character studies like Winter’s Bone, and we don’t expect that the French can make great thrillers like The Beat That My Heart Skipped. But they do get made, and it doesn’t take much effort to find them out.

    • RafaelSilvaeSouza

      I agree, but I still laugh at the end of Woody Allen’s Hollywood Ending.

    • http://www.jorgeosvaldo.com/ Jorge Osvaldo

      I don’t want to hijack my own thread with a non-movie-related topic, so I’ll do my best to spin it into the realm of film: Rian Johnson just directed the best action-thriller he will ever direct, and it was a television show.

      Carson needs to jump on the Breaking Bad bandwagon and review one of its scripts. The show is a master class in pacing, suspense, tension, and the upending of audience expectations.

      • Alex Palmer

        Agreed. (Slight spoiler)

        Did you notice that the recurring motif of Rian’s episodes is the secret about Jane? The great bottle episode he directed in series 3 dealt with it, and it’s the sticking point of Walt and Jesse’s relationship.

        As I watched it, I emoted to the screen like a school girl at a Justin Bieber concert. If Justin Bieber nicked someone’s baby :P

        (End spoilers)

        • http://www.jorgeosvaldo.com/ Jorge Osvaldo

          I did not notice that. This series is so densely packed with callbacks and side notes that it takes multiple viewings to unravel it all. I didn’t even notice that the firefighters were playing chess and the white king was sheltered by a pawn, with only three pieces left on his side; an imminent checkmate.

          • AdamG

            Every scene in Breaking Bad has been thought out to the point that just about every scene adds some semblance of story etched in, look at the imdb boards about the show, there are some crazy dudes who break down every scene in Breaking Bad explaining why each scene is so great and how it relates to the characters, story, foreshadowing, ect. Also explains why BB is thee best TV show ever, much like the Wire (which I never saw but others have said is on par with BB).

      • ximan

        No offense, but I’ve been binge-watching Breaking Bad for the last week (on Season 4 now), and although it is full of flashes of brilliance, there’s wayyyyy too much melodrama in this series. I feel like everyone is giving it this free pass because of all the things it gets right, and that is beyond frustrating to me. Most of the episodes are 30 minute masterpieces that are stretched out to 47 minutes by way of redundancy, filler, and lots o’ melodrama. “The Fly” episode was the worst I’ve ever seen from a hit drama series. Ever.

        We’re most likely not going to agree on this, but Mad Men is the kind of script I’d rather see Carson review.

        • http://www.jorgeosvaldo.com/ Jorge Osvaldo

          Mad Men is an incredible show, but it’s so far removed from any semblance of GSU that I think Carson’s head would explode while trying to type everything that’s wrong with it.

          Breaking Bad creates the purest, bluest GSU in the Southwest. I’ll concede that “The Fly” goes nowhere, but when you fall in love with the characters, you enjoy being in their company even if nothing happens (just like in a French movie!).

      • http://atticofthefilmaddict.blogspot.com/ Matty

        One of the greatest episodes of any television show ever last night. Pure, relentless, gut wrenching brilliance.

        • http://www.jorgeosvaldo.com/ Jorge Osvaldo

          Agreed. The most thrilling hour of television I have ever witnessed. And there’s two more left!

    • http://atticofthefilmaddict.blogspot.com/ Matty

      I personally think the French make some of the best films out there. I too won’t go and list all the great ones because I know nothing will change Carson’s mind… but pick a random American film or a random French film… I take the French one seven days a week.

    • Calavera

      Great comment Jorge. I’m French and indeed I thought the article was bit rough !

      I can relate to Carson’s point that some French movies have such thin plots they start to look like semi-documentaries. I hadn’t thought about that, interesting idea.

      In defence of Russian Dolls, please note that this movie is actually a sequel. The first movie, called L’Auberge Espagnole, was far superior. It told the story of a Parisian student coming of age during his exchange year in Barcelona. The characters and situations were all very “rootable” for the French who studied abroad, or who have kids who do, and it was really a big hit here. The sequel leveraged on the affection we all had for the characters, possibly to the expense of the story (which I don’t remember, coincidentally).

      That makes me think… I myself lived one year in HK, where I discovered some really great HK and Korean movies that we never get to see at home. In France we only get the artsy, moody ones… not the contemporary and entertaining releases. What do you think ? Are there hidden filters at work when we “import” movies ?

      Final thought: I’ve always wondered what foreigners could make out of the French comedy OSS117… It’s probably our best comedy of the last decade… Wildly funny, with cult dialogues, very clever… but it is also filled with references to our national culture. I suspect this movie it’s just impossible to export, so if anyone has seen it here I’d be interested to get his/her feedback !

      • http://www.jorgeosvaldo.com/ Jorge Osvaldo

        I must admit that I’ve never seen OSS117. I’m intrigued by the idea of a French comedy, I’ve never seen one except for Amelie, but that’s more of a romantic farce. I may search it out to see how the humor translates.

        With regards to your suggestion of hidden filters that control the movies that we get to see, I do believe that there’s some truth to it. I think these biases arise from audiences preconceived notions of what to expect from each foreign market (e.g. I don’t instinctively crave to watch a French action movie, but I’ll watch a drama; I don’t gravitate to Hong Kong comedies, but I’ll gladly watch an action movie). Executives know this, and that’s why we get so few exports of foreign movies that deviate from the genres that are considered representative of each country’s film industry.

      • Kirk Diggler

        You are correct, Russian Dolls stunk compared to the original film. I love me some good French cinema. I really liked a film from about 10 years ago called Une Femme de Menage (The Housekeeper) about an older Frenchman who hired this sexy young woman to clean his apartment. Not a stitch of GSU and wouldn’t have it any other way.

      • Rhys Howell

        I saw OSS117:Cairo: Nest of Spies and I loved it. It did seem quite culturally specific with some jokes at points but the rest was broad enough to be enjoyed by anyone. (Of course, it may have helped that I lived in France for a year as a child and have some knowledge of French History.) Worth a watch

  • RafaelSilvaeSouza

    ** It was supposed to be a reply.

  • Paul Clarke

    I share a mistrust in French films due to their lack of story (anyone seen Mood Indigo?) – But I loved The Intouchables. Laughed my ass off – “Is he a tree?”

    Conflicting backgrounds, a poor kid street kid vs a super rich aristocrat always seems to work well. But in this case I think having the street-smart lead character meant it didn’t come across as pretentious, which can happen with overly artistic films.

    What I learned: If you have an audacious charismatic character you can get away with almost anything.

  • shewrites

    Welcome back, Carson. Glad you enjoyed your foray into France, mostly Paris apparently, and French culture.

    Re: today’s article: I so agree with you. French films often have a self-indulgent quality, in particular when the director is the writer which is often enough, that can be grating.
    I can’t count the number of French movies I’ve watched that have left me at the very least nonplussed. That is when I can make myself watch them to the end. I recently attempted to watch “Little White Lies” and I was thrown by how all over the place it was.

    I love your point: ” I was enjoying the movie still, despite the lack of conflict, and I realized it’s because we tend to enjoy watching friendships develop, especially friendships where the two parties would normally never interact with one another. I know it sounds silly, but darn it if it doesn’t make you feel all warm and fuzzy inside”.
    So true, and it doesn’t hurt that the two actors are great.
    I don’t disagree with Jorge in that different cultures have different sensibilities but when a movie stops being entertaining, then in my book, it failed its purpose.
    Carson: re: your offer to French writers: can I send you my script in a couple of months? It needs another rewriting.
    It’s good to have you back.

  • Logline_Villain

    IMHO – American film that worked quite well despite eschewing external conflict: Lars and the Real Girl…

  • Lisa Aldin

    Welcome back!!

    • Mike.H

      Welcome Back!!!…. Kotter.

    • klmn

      Is he back? Or is he posting from the land of escargots.

  • Alex Palmer

    Woo, a post! Welcome back, Carson.

    By the way, didn’t you write in your review of Dinner For Schmucks that you really French comedies? So what’s with the change of heart? Ms SS beat it out of you?

    • shewrites

      The original is a gem. The remake is absolutely awful and an insult to viewers’ intelligence IMHO.

  • tipofthenose

    Oh yeah, deabte over french (european film). I am working in the German and Austrian film industry and know some people in France. So wow I could start going on and on and on about why it doesn’t work so often and why sometimes you have these super genius character pieces (granted: you have to like that kind of film) but I will wait until Thursday.

    But when it comes to “the Intouchables” I must say … um … well … it was a nice little flick but far from the really great european films. For me it was more like Juno or little miss sunshine. Well made films but nothing more. So the question is, can you and do you want to compare france and the US??? Isn’t it a little like trying to compare New York and Paris??

    Cause like Jorge Osvaldo said there are so many unbelieveable good French (And I add: Swedish, Danish, English or Spanish) films. They are just very different, like all countries are different.

  • leitskev

    Great choice to review! I saw this last week and enjoyed it. Carson raises an interesting question: the goal in a film like this is to see the two main characters bond. This happens quickly enough…so then what? How does the plot keep fueling itself?

    I think the answer lies in looming threats to that bond. Philippe informs Driss that he knows about the item stolen in his first visit, and he wants it back. Driss lies about having it. Then tries to get it back from his mother’s home, where he left it before getting thrown out.

    This creates the story stress and intrigue. We wonder if Driss will get caught in his lie and this will ultimately destroy his bond with Philippe. This also leads Driss to reconnect with his troubled family, where his brother is also heading down a path of crime. So Philippe’s asking for the item back refuels the story just as the bond between the two has cemented.

    And of course the story line develops with the woman Philippe is writing to. The engine here is not so much our curiosity about this woman as the fact this becomes the growth Philippe needs to make…Driss being a powerful influence of that growth. The rest of the story is about watching Philippe and Driss each make the growth they need to change.

    A big part of humor involves making an audience uncomfortable and then relieving that discomfort in comical ways. That was the key to Andy Kaufman, the key to most comedy. The more discomfort one can create, the less the demands are on the comic relief…on the punchline. And there’s a lot of material here to create that discomfort. You have a thug, of a different race and culture, who doesn’t want the job…and you have a helpless, dependent rich, cultured guy who hires him. The discomfort comes naturally from that, so the humor does not have to be brilliant to be effective. And that’s what it is: not brilliant, but generally very effective. And that’s why the story has so much heart.

    Great choice for review!

  • ximan

    “Paris, Je T’aime” is like the best of both worlds: Lots of talented American actors and directors against a wholly French milieu. It’s my favorite French film ever (Jean Pierre-Jeunet’s “A Very Long Engagement” is a close second).

    • Kirk Diggler

      Hmm I was a little disappointed in Paris, Je T’Aime. Have you ever seen Jean de Florette and it’s sequel, Manon of the Spring? Amanda Beart is breathtaking to look at in Manon.

      • Marija ZombiGirl

        Amanda ? You mean Emmanuelle Béart ;-)

        • Kirk Diggler

          Oops ack!

  • craktactor

    This was brilliant. And yes, well “worth watching”. It’s on par with “The Diving Bell and the Butterfly” where, oddly enough, both leads are incapacitated (one more than the other, but still).

    Films like this continue to give me hope… at least for French cinema.

  • wlubake

    I was also burned by too many French films early on. Thus, the only one I’ve seen in the past 5 years is District 13. It had a goal.

  • UrbaneGhoul

    I’ve been looking for something to watch on Netflix, I’ll check it out. I haven’t seen too many current French film, just A Prophet and The Valet. I enjoyed them on different levels.

  • John Bradley

    I just assume all French films are shot in black and white and are about a Mime who suffers from Major Depression, and the film ends without any problems being resoled, but instead with a lone red balloon floating into the sky? Is my assumption wrong?=) Go A’Merica!

    • Michaelo

      Le Ballon Rouge 1956. Fabulous French film

  • Crazdwritr

    Love the film Amelie. Jealous you got to see where it was shot. Welcome back!

  • klmn

    Maybe for French Week Carson can explain why the French love Jerry Lewis.

  • NajlaAnn

    It’s on my Netflix list to watch. Thanks for the heads up.

  • RyanH

    Wow — only 31 comments.

    We can at least feel good about one thing: Carson seems happier now that he seems to be “settling down” somewhat.. Hope it lasts with miss SS…

  • Linkthis83

    Welcome back, Carson (if you are actually back. I’m not sure if this is confirmed yet). I also wont be able to believe you are truly back until I see a newsletter :) Please hurry. I need distractions.

    • klmn

      My sources tell me that Carson will be named the new king of the French film industry. Any filmmaker who ignores GSU will be summarily executed. That’s why he was shopping for a guillotine.

      As soon as he wraps up his affairs in LA he’ll be going back.

      • Linkthis83

        Something tells me that the script market will be flooded with character piece stories surrounding characters struggling with their own lives and the impending guillotine in their future (only they’ll think it’s symbolic as opposed to literal.)

        I don’t have an opinion regarding French cinema. Haven’t seen nearly enough.

        So in about the span of a month Carson has dissed French and B&W cinema. Carson better hope that he doesn’t get visited by the ghosts of Jean Renoir, Francois Truffaut, Jean Vigo and Jean-Luc Godard!! (Thank you, internet.)

  • Acarl

    Carson,
    Review ‘SWIMMING POOL’ as a part of French week. Great flick.

  • DD

    loved this movie! Great exploration! What else is on the menu for french cinema? Amelie? The 400 blows? Day for Night? Breathless? JK.. welcome back, Carson.

  • JWF

    I really don’t want to bite…I’m trying so hard not to lay into you about French cinema!

    I’ll just say that The Intouchables is one of my favourite films of the last few years – along with Rust & Bone…

  • Marija ZombiGirl

    Ladies and Gents, do any of you read French ? If so, I have a 20-page first draft treatment if you’re interested.
    Title : Crevasse
    Genre : Horror
    Description : 4 mountain climbers (3 women, 1 man) go off to climb a mountain. When crossing a glacier, one of the women falls into a crevasse but she’s so firmly lodged that it’s impossible to get her out. Then bad weather sets in and she’s killed by something unseen. The three survivors then have to battle against the forces of Nature which may be just that or something else…

    • French Guy

      Bonjour Marija,
      Je serai curieux de lire ton “treatment”. Tu peux m’envoyer un .pdf par mail. Cela restera strictement confidentiel bien entendu… Bonne soirée.

      • Marija ZombiGirl

        Si tu me donnes ton mail, j’envoie ça tout de suite :-)

    • Poe_Serling

      What about your non-French reading fans??? ;-)

      • Marija ZombiGirl

        Hey there :-)
        I have thought about translating it actually so I might just do that and you might just receive it when you least expect it :-)

    • klmn

      I can read French. I just don’t understand it. (Not much, that is).

      If you translate it, I’ll read it.

  • Lisa Aldin

    HE LOVES ME, HE LOVES ME NOT is one of my favorite movies ever. Also. It’s French!

  • Awescillot

    I agree, Bullhead is a must see. And for the people who enjoy watching Matthias Schoenaerts (Rust and Bone), won’t be disappointed with his performance in Bullhead.

    You haven’t mentioned Loft. Most succesful Belgian movie, I think. Director Erik van Looy directed the Belgian original, then ended up directing the Dutch remake, and just now completed filming the American remake (The Loft).

  • Midnight Luck

    There has been an incredible amount of wonderful cinema thanks to the French. (AMELIE and LOVE ME IF YOU DARE are just a few of somewhat recent favorites)

    as Hitchcock said (or something close) “in French cinema you can have a shot of clouds, and another shot of clouds, and a third shot of clouds. In America if the second shot of clouds doesn’t include an Airliner burning and then a shot of it crash landing, your in trouble.”

    It seems Carson is total agreement.

    I like movies that make you think. I enjoy films that allow for all kinds of pacing. I love movies that don’t do everything the same.

    Speaking of French movies (sort of) I went to see THE FAMILY, and walked out. It was unbearably awful. All those big names in it, and it was tripe.

    You want to talk about making a movie that has no point, just wanders around for no reason, yet is full of EXPLOSIONS and such, well, go see The Family.

    I NEVER walk out of movies, unless they are inexcusable GARBAGE.

    I mean this is from the Director / Writer of THE PROFESSIONAL (LEON). How on earth can he keep churning out dreck like LOCKOUT and TAKEN 2 and TRANSPORTER and THE FAMILY? I guess he is all about the money anymore. Or maybe LEON was his one good one (or he stole the script from another writer).

    • Linkthis83

      Love The Professional (Leon). A great film.

  • fragglewriter

    This is one movie that I’m eager to watch, but haven’t had the time to. The trailer intrigued me and each time that I watch the trailer, it makes me smile.

  • Kirk Diggler

    Tell No One had it’s moments but damn the plot was so convoluted that they had to have one of the characters explain everything to the viewer because they weren’t successful in communicating all the plot turns via the natural unfolding of the story. Don’t think much of Guillaume Canet as a director, but he did manage to marry Marion Cotillard.

  • Marija ZombiGirl

    Je vais m’y retrouver, t’inquiète :-)
    C’est parti et merci !