Paris Countdown

Name: Paris Countdown
Director: Edgar Marie
Released: 2013

Edgar Marie

2013

Synopsis

Unable to repay their debts, Milan and Victor, best friends and co-owners of a Paris nightclub, are lured into a drug deal that goes bad. Tortured by police, they negotiate their freedom against an overwhelming testimony that condemns their psychotic liaison to prison. Six years later, the men's nightmare begins again when the pyschopath is granted his freedom. Now, not having talked for years, the old friends are united again in order to survive.

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Recommendations

50
The New York Times
Mr. Marie, making his debut as a director, swathes their tale in a thick coat of style that teeters between cool and mannered.
50
New York Post
It’s a mildly interesting thriller — Paris through the eyes of a director who doesn’t know how to make its beauty menacing.
50
The Hollywood Reporter
Slickly executed with glossy, neon-drenched cinematography and a throbbing techno-music score, Paris Countdown sacrifices substance for stylishness, as has become the distressing tendency of so many recent crime dramas. But its fast pacing, compelling lead performances and frequent doses of action prevent boredom from settling in.
40
The Dissolve
Paris Countdown has style to burn, where “style” means “uses lots of lighting gels and some camera flourishes,” but it doesn’t have a coherent point of view or a solid take on the genre.
40
Time Out
Despite the ingredients for a rousing shoot-’em-up (two-timing hit men, a slo-mo shoot-out, chartreuse-filtered scenes in Mexico) it’s hard to buy the leads’ mastery of this world of fist-pumps and violence.
38
RogerEbert.com
A middle-aged bromance tucked inside a French crime thriller, a slick and brutal B-action picture that finds writer-director Edgar Marie channeling Nicolas Winding Refn channeling early Michael Mann.
30
Village Voice
The skirmishes are alternately silly and wan. The film's gloomy techno score is its most lasting attribute.
30
Variety
This been-there-done-that story marks a pretty banal debut for writer-director Alain Marie, who seems far more interested in aping Refn and early-career Michael Mann than in finding his own style.