gergelyh-15596 This film seems to me strangely overrated here. The story is promising indeed but not very well executed. All the people, especially the evil ones, act mechanically here -- even the sinful SM orgy is done apathetically, like some boring work routine. The weakest part is Raphaelle's character, very underwritten and Chiara Mastroianni cannot compensate for this either. She should be deeply content and at the same time desperate in the role of maitresse/mother, should be very beautiful and exciting (what she is not, she's not ugly but worn out) to explain even a cold affection from the part of the demanding M. Laporte and Marco's un-tactical fit of passion in the end. There should be chemistry between her and Marco from the beginning, but we do not see that and her involvement with him feels totally unfounded. Actually they seem to feel awkwardly when together, even their lovemaking is hard to watch, rough but not passionate and hardly the source of emotional satisfaction she must have missed with Laporte... Even her life with her son lacks any vitality, we could as well look at two customers in a furniture store. Theoretically we know what she is expected to feel -- or the suspenseful ending would not be believable - - but it is only a cold knowledge.Cinematography is surprisingly bad sometimes: the way the important car crash is filmed usually can be seen in very old and very low-budget movies only. The good parts: Vincent Lindon tries his best, he feels genuine in this hard role. Music is more than adequate. Plus the vintage Alfa Romeo, well, *that* is a masterpiece.

stemal-1 A slow paced film, a simple plot and an unsatisfying ending for what is ultimately a 'seen it all before' revenge story. The ingredients for a film tailor made for me to hate.But somehow it worked. Yes, there's not much to it, more atmosphere than story, but it gripped me throughout.An indication of how much I'm enjoying a film is the first time I check how long is left. I didn't do that at all during Les Salauds.It's terribly dark and downbeat, and don't imagine things will turn out how you might expect or want them to. But if you're OK with that, and have some patience, this is worth seeking out.

l_rawjalaurence BASTARDS focuses on the experiences of sea-captain Marco (Vincent Lindon), who returns from his ship to find his sister Sandra (Julie Bataille) in trouble. He moves into the apartment above rich business person Edouard (Michel Subor), whom Sandra holds responsible for her troubles. As Marco becomes more involved in the case, so he discovers to his cost that the intrigues are more complicated than he anticipated. Set in contemporary Paris, Claire Denis creates a claustrophobic thriller, full of close-ups and tight two-shots in which the protagonists' faces seldom fall out of view. This helps reinforce the film's principal theme, which is to show how actions often have unforeseen and unintended consequences. Although Marco believes he is doing the right thing, his actions are misunderstood to such an extent that Edouard moves away, taking Sandra's little son with him. Perhaps this is due to Sandra's penchant for not telling Marco the truth about herself and her life; but Denis seems to suggest that Marco fails to consider the ways in which his behavior might be viewed by others. We never know who the "bastards" of the film actually are; perhaps it's one of those terms of abuse that people apply to others, especially when they are in tight situations. The plot remains taut throughout, and there is an unexpected dénouement that deserves our attention. Definitely worth a watch.

westsideschl A rambling script that jumps so often from one person to another; one scene to another; one plot structure to another that you're left wondering if this is a story or an exercise in the writers/director being enamored with their cleverness. The inconclusive and illogical, abrupt ending is further proof of the film makers' self-absorption. Excessive use of flash backs and constant, shifting brief moments with each character leaves the viewer caring less about the principal vehicle - the life of a young girl in a prostituting environment. I usually have high regards for French film studios efforts, especially with their crime/thriller movies, but in this case ... Final verdict - who cares!