The Assault

one of the worst ever seen so far about hijacking a passenger plane. the screenplay is badly enough to put several female characters in it, yet the wife of the french special force member with their daughter, the woman who works for the french emergency management authorities, the female passenger sitting next to her parents, are totally unnecessary casting. the scenes about how the french government handling such situation are also very laughable. those four hijackers also acted so lame and so stupid. the most ridiculous plot is how those 4 hijackers could so easily get on board without any reason to justify their success. the scene about the stupid french woman who works for the government trying to bribe the terrorist leader so naively is also a big laugh. there are so many useless and meaningless scenes in this movie dragging out the whole time just like the airplane on the tarmac. the final assault is also like a child play, so laughable and and so lame. showing the wife crying while watching the rescue progress is also so laughably lame and totally unnecessary. this is one of the worst films in such genre and it should not be put into production in the first place. a total waste of money and time of yours and mine.

Every nation has their special police/squad team. So do the french as you can see in this movie that is based on a real event that occurred in 1994. Something is going down (no pun intended), which the french police tries to stop. Of course this can be eerie, especially because you will think of another event that happened a few years later elsewhere. While no real connection is made, you can sort of feel it.

What makes this stick out, is the fact, that there are quite a few good action set pieces and a real character development amongst our characters. While I haven't checked upon how close this is to what happened originally, I can tell you that this is tension filled stuff indeed.

USA has her SWAT, Japan has her Security Police, Brazil has her BOPE featured in Elite Squad, and as far as special police teams go, the French has got her GIGN (Groupe d'Intervention de la Gendarmerie Nationale) making it onto the big screen, and what more than to introduce them via a true, high profile aircraft hijacking of an Air France Airbus 300 plane in the year 1994 involving the supposed attempt of using a fuel laden aircraft as a missile targeted against a major city landmark, a chilling 7 years before a terrorist group managed to carry out this dastardly act on the soil of USA.

Those of us who had grown up playing the first person shooter game Counter-strike will be no strangers to the uniform of the GIGN, since it is one of the four outfits that you can select on your character profile if you choose to be on the side of the counter-terrorists. Director Julien Leclercq paid close attention to detail and began with literally a big bang to showcase the capabilities of the GIGN troopers, before saving up the real deal for the extended final act. But that's not to say that the film is a boring ride. On the contrary, Leclercq crafted a gripping tale that moves, probes and examines very quickly how things get to spiral out of control until the inevitable outcome, expertly handling three separate narrative threads running concurrently before finally converging into the titular battle onboard the narrow confines of an aircraft.

The first naturally comes from the perpetrators, the terrorists, their thought process and ruthless action in causing mass panic and fear to further their political cause. Here it's the GIA out to free two of their comrades in Algeria, or so it seems, and had taken an Air France plane at the airport as leverage. But the second thread, focused on Mélanie Bernier's Foreign Ministry analyst Carole in a very Jack Ryan-esque role whose research, insights and gut feel points to a very different strategy and objective adopted by the hijackers, and has to cut through the usual red tape in the administration to push her points through, at times too direct that it irks the brass. And the last narrative thread paints a rather personal picture of GIGN trooper Thierry (Vincent Elbaz), personifying the issues and concerns of those who put their lives on the line to protect strangers, at the risk of upsetting and disappointing their own family members even, who cannot reconcile why they do what they do.

Technically, the film has fantastically strained its colour palette, making it very close to black and white, which I thought suited it fine since it's actually loosely referencing events from history (with the dramatic license for it too I hope) like a documentary, akin to accessing vague memory banks or like watching a news reel unspool - some of the clips that the characters watch from television were the real deal at the time. Then there is the choice of adopting the shaky cam. Now I'm not a proponent for this camera technique because more often than not it gets exploited by the filmmakers to cover up flaws in their work, and am finding it tiring as an audience to try and follow events on screen when the camera moves about almost all the time. It's not to say it cannot be used, because The Assault did it nicely that fit the narrative well, transmitting that sense of urgency and constant danger, helped by a pulsating soundtrack by Jean-Jacques Hertz and Francois Roy.

What made this film excel amongst its peers are the sensitive stories and characters involved in a life and death situation, with viewpoints presenting both in macro and micro terms, the latter allowing you to feel for the characters since it's set up very carefully to allow for empathy. Leclercq does not pull his punches in vilifying the evil doers, with powerful scenes both to evoke a sense of hatred for the senseless violence they preach, and in one potent scene involving a terrorist having to face up to his parents, allowed that slight sliver of sympathy that they are but pawns manipulated by others. It's a little pity though that the socio-political context of the incident isn't covered in the film in detail which may leave some perplexed, and while it may rob The Assault of its pace, may probably enhance the viewer's understanding of the conflict that existed.

As far as police thrillers go, The Assault scores high on both action and drama, providing that unique combination very rarely seen in action films, that allows you to feel for the characters, and appreciate the unenviable task of the special forces in the respective countries constantly training and prepping to deter any would be aggressors, but when the time calls for it, to swing into action unflinchingly. Tactics and weapons on display in the film also provides ample fuel for fruitful post screening discussions. Definitely one of my favourite films this year!

I was fascinated and totally on the edge of my seat for this one. Despite flaws in the production and irrelevant scenes involving one of the GIGN member's wife and little daughter, included obviously for the sake of emotional pull, this film is an accurate reenactment of the Air France hijacking of 1994 and subsequent raid to free the hostages. This film is a stark reminder why we have to endure airport security and how crazy these Muslim religious fanatics are.

The movie had a made-for-TV quality and could have done with higher production values; perhaps the budget was limited. The version I saw had dubbed voices which made the acting seem worse than it really was. I think it would be a lot better in French with subtitles. A lot of the technical details of the planning of the raid were just not explained, no doubt the film makers were more interested in dramatic effect. But the fact that it was an accurate reenactment of real events made these flaws appear minor and the events more gripping.

At one point the French Government tries to appease the Terrorists by giving them a large sum of money without any hint or assurance that the hostages would be released. I said to myself, "Did that really happen? I mean, could they be that dumb?" Those leery of French politics will just have to groan and say "Not again!" But then at the time they didn't have the lessons of 9/11 to inform them.

All in all I was immersed in this film and was quite willing to overlook its minor flaws in light of the important lessons it teaches. Historical accuracy counts for a lot in this kind of drama.

Reading some of the reviews (probably fake and part of the production team), they are defending the color de-saturation/black and white effect, slow pace etc...

And then there's the other idiotic reviews that are basic plot summaries or synopsis - that's not a review and does not belong here, nor does it merit a film!

I've seen many great French films, and to simply excuse all the negative aspects of this film because it's French-made and it's to be expected, is no excuse for a poor screenplay, terrible editing, idiotic cinematography, and disgraceful directing.

Let's start with the de-saturation/black and white; it's meant for dated, artsy-type or musical films... French or not.

The shaky cam was so annoying, I wanted to stop watching this film every 15 minutes, but gave it a chance. This is not typical French cinematography or directing... this is the director trying to Americanize this film. Fail.

The editing was about as good as a fifth grader cutting pieces of paper for an abstract piece.

The screenplay is what needed the cutting; I didn't need to see forever-long prayers from the terrorists. We get it, they are loyal to their God. And screaming it non-stop to all the passengers - even a 5th grade bully would have had more intimidating dialogue.

The plot had more holes in it than the shots fired.

As one reviewer stated, this film would have been better as a documentary, and probably would have held the viewers attention better.

Sure the story based on actual events was interesting, and the casting wasn't too bad. But those are the only two reasons this film was deserving of my 4/10 score, but that's it.

Any amateur film-maker with an iPhone could have put together a better film and cut this screenplay to 1 hour and be more effective and entertaining.