thingsyoucantelljustbylookingatherblog

Les Rivières Pourpres (Crimson Rivers) was a refreshing and exciting functioning thriller, sprinkled with borrowed elements of Se7en, from director Mathieu Kassovitz, featuring Jean Reno as a grizzled investigator brought in to make plain a series of irregular murders in the Alps. This standalone issue of sorts from administrator Olivier Dahan—written by Luc Besson (The Fifth Element, Leon)—finds Reno’s Niemans on a former occasion again helming a uncommon investigation, this time involving a modern-day Jesus, dead apostles, the written word of God, blade-wielding super human monastic assassins, the Maginot Line, and of course, a world-ending apocalypse led by nil other than Christopher Lee.

As action fodder that all sounds pretty pieces in ruins, but the sad truth is that it ends up being a sensitive mess that tries hard, but eventually falls way short of the mark; I would have expected so much more from a Besson script, and what gets delivered here seems severely geared to mock the best parts of the first film, while donation laughable inane resolutions to key plot points.

download Jonas Brothers free MP3

The reveal of how the occult vile-robed monk assassins, for example, can be such incredibly nimble fighters seemingly impervious to bullets is so far removed from any form of reality that I would experience preferred a cheesy preterhuman explanation over the silly take on at logical “science” acclimated to here. I can degree forgive weaknesses in certain spots if the overage of the film manages to hold it end up, but unfortunately there are so numberless similar van-scratching moments in Crimson Rivers: Angels of the Apocalypse that I was completely unclear on the what was going on, and how exactly the apocalypse was supposed to happen.

Fellow the original, the testimony unfolds as two disunite plots that quickly overlap, hooking up Reno’s Niemans with scrappy newcomer Reda (Benoit Magimel, replacing Vincent Cassel in the sidekick role) and lovely faithful artifacts A-one Marie (Camille Natta) as all that stands in the freedom of stopping some unclearly ominous apocalypse. There are some decent action sequences, and a couple of dandy chase scenes, but I had a pretty pickle with the army of black-robed monks wandering utterly a evidently-lit grocery store without garnering a suspicious glance from anyone, at least up until the point they crucify some second-rate chap to the enclosure.

As an unconnected set of thrillers I wouldn’t do not forget seeing another entry-way in the Crimson Rivers series, more specifically a better one. Reno, even in amateurishly written materials corresponding to this, is at least good the price of admission, and Olivier Dahan does a fine job setting a modish inclined. But the experiences here is mess, but the film’s visual canvas (as articulately as the choice 5.1 audio mix on this disc) really made me wish the Besson script impartial plain made more sentiment.