Autumn

Name: Autumn
Director: Ra'up McGee
Released: 2004

Ra'up McGee

2004

Synopsis

Jean-Pierre is a hit man in Paris. He wants to stop; an incentive is reconnecting to Michelle, a childhood friend. He's ready to commit himself to her, but she has her own secrets: she sells bomb components to thugs. He hears rumors of a missing briefcase, which he finds in Michelle's flat. He asks no questions, and soon both of them are in trouble with Jean-Pierre's ex-employer and with her bomb buyers. Two other characters complicate the maneuvering: Jean-Pierre's best friend, who's always losing money on the ponies, and the ex-employer's new contract killer, a seemingly fragile woman. Is there any way that Jean-Pierre can protect Michelle and escape with his life? Written by

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Recommendations

70
Village Voice
Enamored of all things French and noir, American director Ra'up McGee has written a love letter to both.
70
Salon
Autumn is actually pretty damn good. It's a defiantly odd work, a movie-movie set more in the crime-film Paris of Jean-Pierre Melville or Jacques Becker or early Godard than in the real 21st century city.
50
Variety
Francophile film buffs and obsessive deconstructionists might be amused, but less indulgent auds will find derivative pic artificial and mannered.
50
L.A. Weekly
Elegantly stylized but emotionally strained.
50
New York Daily News
It's in French with French actors, but its film noir sensibilities have a filtered Hollywood vibe about them. In other words, it's pretty much a mess.
50
Los Angeles Times
The twists and reversals that pile up, stirred by greed, friendship and betrayal, fail to register any meaning, simply accumulating -- so that ultimately Autumn is as dry and lifeless as the leaves that fall to the ground in its opening images.
50
TV Guide Magazine
The film looks great, but there's nothing under the high-gloss veneer.
50
The Hollywood Reporter
Although reasonably compelling to watch and featuring fine performances from its charismatic and attractive lead performers, it ultimately displays little reason for being other than to serve as a transatlantic cinematic calling card.