Now With More Than 3000 Reviews! Go Nuts - Read 'Em All!!

WELCOME! Use the search engines on this site (or your own off-site engine of choice) to gain easy access to the complete MAKSQUIBS Archive; over 2500 posts and counting. (New posts added every day or so.)

You can check on all our titles by typing the Title, Director, Actor or 'Keyword' of your choice in the Search Engine of your choice (include the phrase MAKSQUIBS) or just use the BLOGGER Search Box at the top left corner of the page.

Feel free to place comments directly on any of the film posts and to test your film knowledge with the CONTESTS scattered here & there. (Hey! No Googling allowed. They're pretty easy.)

Send E-mails to MAKSQUIBS@yahoo.com . (Let us know if the TRANSLATE WIDGET works!) Or use the Profile Page or Comments link for contact.

Thanks for stopping by.

Thursday, November 18, 2010

UN PROPHETE / A PROPHET (2009)


Last year’s Grand Prix at Cannes was this pulsating prison pic from Jacques Audiard about an Arab newbie (Tahar Rahim) who’s forced to murder a fellow inmate to gain protection. And initially, this well-made film looks & sounds like a typical prison drama as the kid learns the ropes; starts to work for the Corsican drug lord (Niels Arestrup) who runs the joint from his cell; oversteps; and eventually rises to a height from which he must fall. Maybe, maybe not. We follow the template only so far as Audiard is far more audacious and moves past the prison walls to show how criminal communication makes the rounds in the real world, cross-contaminating everything they touch. It’s fascinating stuff and watching how Rahim plays his role as odd-man-out (or is he the ultimate insider?), crossing cultural lines as he works out where he stands in the line of command is stunningly handled. And it’s not all mind-games since Audiard delivers a steady stream of beautifully executed action sequences all thru the story. The film bears comparison with the Robert De Niro sections of GODFATHER II/’74 or Al Pacino’s SCARFACE/’83, though happily without the De Palma excesses or the self-aggrandizing perfs in either film. It's a major achievement.

No comments: