Assassin(s)

This is a film that plays on Mathieu Kassovitz's strengths as both an actor and a director. As an actor, he is well-suited to play the half-hearted, rather feckless criminal, a tragic-comic role that Kassovitz seems to excel in. In the director's seat, Kassovitz creates a film that is energetic, vibrant, dramatic, and visually very impressive. The three lead characters are well-used, with some fine performances, particularly from veteran actor Michael Serrault who acts out the paradoxes of his day job as a professional killer with great conviction and sincerity.

Where the film falls down is in the plot structure and the unnecessary overuse of violence. The film begins well enough, with Wagner recruiting Max and training him to take over his job. Then, about two-thirds of the way through, the film abruptly changes direction and seems to go off on some kind of crusade to educate the world about the dangers of video games on impressionable young boys. At that point, the film loses its momentum and the violence which ensues appears senseless and gratuitous.

There are some similarities of style with Kassovitz's earlier film, La Haine. However, whereas that film seemed to have a fairly clear statement to make, Assassin(s) does not and appears ambiguous and confused. As a result, what could easily have been a very powerful and successful film will probably be remembered as a rather confused film revelling in violence - not unlike the computer games that it seems to revile.

This movie was booed in Cannes. Why? Audiences were probably expecting a second La Haine. But thank god Kassovitz did not do a repeat performance. This movie is not so much social commentary as some have approached it, but more a character study of sorts. The three protagonists interaction is quite gripping, the sitcom on TV is the best ever, and the twist in the middle(!) is filmmaking at its finest. Drawbacks aplenty, the ending is obvious, for example, and a bit of cheap shot, but overall this movie is definitely not as bad as many critics thought.

Kassovitz is not the first director that made the mistake to let a message overflow his picture. In Assassin(s) he does it thoroughly and quite conscientiously. At least no one can question the artistical outcome. The point of view is accurate, everything is well-thought: the story-line very well paced and packed with dark suspense.

That is the main point. The movie is by far too gloomy. Cinema cannot be an Art for the Art's sake, it definitely has to do with entertainment. People go to the movies hoping to get out relieved from such concerns as screen violence & social issues. These people are not only fat-brained teens starving for action blockbusters, it would be wrong to think entertainment is for low-educated masses. People want laughs (mostly), thrills (escape from the dull), scares (not too scary though)... but they do not want a distressing movie.

Hence Assassin(s) does not cater for a large audience. I found it great despite its darkness because I am sensitive to its top class directorial and writing skills. Yet the poor marketing skills make it a somewhat suicidal experience for a young director and fortunately Kassovitz has been granted the expensive privilege of learning directly from his mistakes. Just hoping Les Rivières Pourpres brought him back his self-confidence to avoid out-of-the-box happy endings in the future.

First of all, this is not a good or a bad movie. It is a little boring, and a couple of things did not quite match.

However, it has a very serious violence (no action, pure raw and disgusting violence) with enough good taste to avoid blood all over the lenses (but not less shocking), and compared to the Oliver Stone movie, it is a lot better and really delivers the message.

All three main characters are marginal people. One of them a dying drug addict killer, the other two are nobodies trying to find a way in life. I do not think that every lost person in the world could become a killer or a psychopath; but there are not bad candidates either. The concept of TV generating violence, is not new and hardly arguably, but the way it is presented, without any poetry or sympathy makes the point better than any other movie on the subject.

Conclusion; this is not a commercial movie. It is the type of film you see when you are looking for something deep that makes your brain work. Overall, you will probably dislike it, which is a good reason to give it a try.

Having read the previous comments, I must say that for me it wasn't too gloomy, too violent, too confused. I think you couldn't have been more lucid, even visionary, in 1997, considering the real-world high school rampages thereafter (1999: Columbine/USA, 2002: Ehrfurt/Germany, etc.).Another sharp insight in this film is the depiction of the different generational "characters". We have the old, heroin-addicted killer, the naive hard-working mother, the joint-smoking, lethargic twen and the cold-blooded, bored teen. Me, being a twen, found a totally new generation presented: They are not only constant TV consumers like all the other generations, nor is only one parent missing, but here we have no parents at all, and their active, martial video-gaming-experience combined with passive access to all the trivial perverseness of TV's innumerable channels, can most likely lead to a detached killer seeking real life testing of his training in the virtual world. The key scene for me is, when Max sees himself as a killer in the reflecting car-window. He then can still reflect upon the insanity of it all.