Cible émouvante

If you like Dark Comedy, you'll love this one. Cible Emouvante, lives up to its name "Wild Target". An Excellent film if I must say so. I was Introduced to the film by my French Professor. I immediately wanted to purchase the film. It is constantly moving, no getting bored here! The film is a lot of fun and laughs--ENJOY

A fantastic little black comedy, up there with Kind Hearts And Coronets and A Fish Called Wanda. This is a very funny film, in a dry, witty way which gives it real style. The four lead performances are all good, but Jean Rochefort in particular does a brilliant dead-pan in the lead role. There are plenty of good lines, but the funniest jokes are visual- the synchronising of the push-chair gently bumping the car with the noise of the crash behind, or the re-appearance of the parrot behind Madame Maynard. And Patachou's cameo in that role (the mother, not the parrot) makes the movie worth seeing alone. Highly recommended, and worth seeing twice for the subtle jokes you miss the first time. And if you're wondering: yes, Guilliame Depardieu does have his father's nose.

Rochefort plays professional killer Victor Meynard in this beautifully shot French black comedy.

I rented this movie not knowing anything about it and barely reading the cover.

I was immediately drawn into the movie by Victor's deadpan expression and uptight manner and watched his composure melt away into plain irritability at his foiled assassination attempt on the art thief Renee as she is seen shop lifting. It then crumbles to exasperation as more things do not run according to plan as he is so obviously used to.

The Corsican gangsters are threatening enough, and the introduction of Guillaume Depardieu as the "all thumbs" Antoine tops off the chemistry and cast adding to the total chaos inflicted upon Victor's usually well ordered life.

There is a lovely scene too where Victor has afternoon tea with his aged but elegant Mother and it hilariously transpires here that she is an authority on poisons and pistols. A side-effect of this scene is a mysteriously dead Parrot.

It is all underplayed beautifully and the dark humor, characterization and pace contribute to a refreshing alternative to Hollywood.

Jean Rochefort (The Phantom of Liberty) plays Victor Meynard, a 55 year-old professional killer; but he is starting to lose his touch. He is unmarried, and trying to learn the English language, as well as tending to his Dwarf Ulanus plant, and paying visits to his eccentric mother.

During a hit, Victor stumbles upon a timid young man named Antoine, and decides not to kill him, but learn him the art of killing people in different ways. Victor is then hired to kill a femme fatale named Renee, who has ripped off a mobster. Chaos ensues when Victor is prevented from killing her by another hitman, and he decides to take Renee to his house, along with Antoine.

The three of them then hide out there. The three characters are good together, and the film moves along at a good pace. It is an entertaining and funny film to watch and never dull.

It is hard to believe that twenty years have passed since the release of this extremely promising debut of Tunisian-born writer/director Pierre Salvadori. It has since of course acquired a tragic dimension owing to the presence of the talented but ill-fated Guillaume Dépardieu and Marie Trintignant, both of whom were to make two more films with this director before their untimely deaths.

To call this piece 'bizarre' would be an understatement as it is a somewhat uneasy mix of comedy and violent death in which assassins are portrayed as buffoons. It has plenty of pace however plus inimitable Gallic finesse whilst the dynamic between Victor, Renée and Antoine is fascinating and their characters well-drawn. As a bonus we have Patachou as Victor's murderous maman. Composer Philippe Eliard's use of the accordion adds to the film's overall kookiness and the sharp editing is by Hélene Viard.

Suffice to say the lynchpin here is the performance of veteran Jean Rochefort as Victor. One simply runs out of superlatives when describing this actor whose subtlety and innate quirkiness enrich every film in which he appears. Following his breakthrough role in 'Pardon mon affaire' he made a wise decision to retain the moustache he had grown for that film.

Although it is not a classic, one appreciates the film's merits even more when considering Jonathan Lynn's utterly worthless remake from 2010. That this lamentable British version has garnered twelve times more IMDb reviews than the original is depressing and oh so typical.