Dobermann

Starting off with a slow scene at the baptism of Dobermann, whos real name is Yann, it then takes you on a action-trip to hell - and never back!

The first 30 minutes of the film have super-cool editing, but then the story gets overhand (which is good) and the shooting starts to slow down... When the bank-robbing-action is at it's best, the suspense and high-quality filming really is unique. At the final scene the shoot-out is grotesqly well done and can only be compared to early John Woo-Hong Kong flicks... Nothing made in the US can compare to this truly adorable movie. Maybe KILLING ZOE may compare in violence, but not in acting...

The scene when Yann and his girlfriend is talking with sign-language only is one of the best scenes in this movie - even though it has no action, no words and only a humming noice...

Nice movie that should be seen only by those who can stand grim action that looks real. It's a hard movie to watch for some people, but it has great qualities, very nice filming and spectacular direction and editing! Watch out for some nice laughs as well... if you have that sick dark kind of humor, that is... :-)

9 out of 10!

DOBERMANN

Aspect ratio: 2.39:1

Sound formats: Dolby Digital / DTS

A psychotic police detective (Tchéky Karyo) pursues a gang of armed robbers led by the ultra-charismatic 'Dobermann' (Vincent Cassel).

A colossal one-fingered salute to the bland, homogenised pap dominating international cinema at the time of its release, DOBERMANN not only set debut director Jan Kounen on the road to cinematic glory, it also helped kickstart an aggressive upsurge in ultra-commercial European cinema (the "Taxi" series, BROTHERHOOD OF THE WOLF, CRIMSON RIVERS, THE DEVIL'S BACKBONE, etc.), begun two years earlier by Mathieu Kassovitz's equally subversive LA HAINE (1995). Fans of political correctness need not apply: DOBERMANN is loud, excessive, obnoxious and morally ambiguous in equal measure, and while some viewers may be unable to reconcile themselves to the action and violence of Kounen's raucous worldview, others should cling onto their seats and prepare for the ride of a lifetime...

As the above plot synopsis attests, Kounen and scriptwriter Joël Houssin (upon whose pulp novels the film is based) have stripped the plot down to its barest essentials and constructed a series of instantly recognisable character-types (saint, sinner, braggart, dimwit, etc.), thereby liberating Kounen to indulge his true objectives: To push the boundaries of cinema to their absolute limits. DOBERMANN is a swirling tornado of audiovisual delights which unfolds via shock cuts, hurtling camera-work, loud explosions and in-yer-face action set-pieces, a heady mixture of Hollywood gloss and Hong Kong stuntwork ramped to the max. You want subtle? Try Merchant Ivory. THIS movie wants to gouge your eyes out!!

The cast is toplined by French superstars Cassel and Monica Bellucci (they married in 1999), playing the antihero and his ultra-loyal partner in crime, and they both manage to carve a niche amidst the film's visual excesses, while Dobermann's misfit gang includes Stéphane Metzger (TRANSFIXED) as a beautiful drag queen who supports his loving, unsuspecting wife and family via prostitution. But the movie is stolen clean away by Karyo as the deranged cop on Dobermann's tail, an irredeemable psycho who's prepared to break every rule - legal and moral - to bring his nemesis to book. However, the audience's loyalties are tested when one of Dobermann's gang (the 'good' guys) shoots an inexperienced rookie cop for no other reason than he happens to be within range during a bank robbery, an incident which pegs the characters as dispensable lowlife scum. But this outrage is balanced by a subsequent scene in which Karyo (the 'bad' guy) invades a birthday party and forces Metzger to betray Dobermann's whereabouts by threatening the younger man's newborn child, before revealing Metzger's drag queen alter ego to his horrified, clueless family. Though the scene is cruel and uncompromising, Kounen isn't interested in queer-bashing a sympathetic character, merely demonstrating the moral corruption of Karyo's villainous detective; the drag queen is written and played with quiet dignity, and Metzger's 'fate' for betraying Dobermann under duress is both amusing and redemptive...

Houssin's scenario builds to a frenzied showdown in a fancy nightclub, where Dobermann's gang defend themselves against an army of gun-toting police officers, and Karyo finally confronts his mortal enemy, culminating in an explosion of horrific violence. You have been warned! In fact, the script's antisocial attitude is perhaps a little TOO crude and excessive in places, but the director signals his intentions late in the film when a drug-addled gangster goes to the toilet and uses pages from 'Cahiers du Cinema' to, er... clean up after himself (if you catch my drift)! Tired of adhering to the established confines of critical acceptability, Kounen and his production team have fashioned an instant cult classic, one which defies convention and spits in the face of diplomacy. Acting and technical credits are top-notch throughout.

(French dialogue)

Crazy and fun and psychotic. Jan Kounen's high-octane Dobermann is a graphic novel come to life. Expertly directed, shot and acted. Every character is pretty much certifiable, and they exist in a world that is truly bats**t crazy.

Anarchic, and freaking excellent.

The plot is simple, Dobermann and band of bank robbers are hunted by the police as they plan and execute a robbery. What they don't count on is that a crazed policeman is on their tail and will stop at nothing to stop them. The dialog is witty, the film making flashy, and the violence is brutal. So why don't I like this more? Lets face it this film exists simply to look cool and so the film makers could shoot things. The film looks great and the gunfights and the action sequences are mind blowing, the problem is that despite some witty dialog the film is rather dull when things aren't being blown up. I got to a point where I was reaching for the remote to get to speed to the next bit of action. Thats not a good sign.

Should you see this movie? If you like big action sequences with lots of guns blazing, absolutely. You might also want to check this out to see one of the great screen villains as represented by the crazed cop who is hunting the gang. He will stop at nothing to get his man including giving a grenade to a baby.

6 out of 10, great action and style takes the place of plot and character development.

...but you more or less could have figured that out if you had taken a look at the film's trailer. What you may not be prepared for is the fact that the first 40 or 50 minutes of the film are surprisingly dull and far from action-packed. Things do pick up in the second half, and by the time we get to the final confrontation between Dobermann and the Nazi cop Christini (arguably the most repugnant cop in the history of movies) the violence finally has the kick that it should have had all along. (**)