22 Bullets

Directed By: Richard Berry

Starring: Jean Reno, Marina Foïs, Kad Merad, Richard Berry

Synopsis:

Charly Mattei has turned a new leaf on his past as an outlaw. Since three years he's been living a comfortable life and devoting himself to his wife and two kids. However, one winter morning, he's left for dead in the underground parking of Marseille's Old Port with 22 bullets in his body. He survives only to find that he’s wanted dead or alive: Dead from the guys that tried to kill him and alive by the cop who’s hunting him.

Review:

I first became a fan of Jean Reno after watching Luc Besson’s Nikita, but Reno wouldn’t make it big outside France until Besson’s masterpiece (in my view) Leon. Leon opened up many roles for Reno, such as a role in the first Mission Impossible movie, and deservedly so. 22 Bullets finds Reno going back characters like “Victor the Cleaner”.

The movie begins with a brutal shooting that reminded me of Murphy’s shooting in Robocop. Miracuously, Mattei survives and recuperates in hospital. Learning who is responsible; his lifelong friend and former business partner, Mattei looks to exact his revenge. He is helped out along the way, by a cop who grudgingly wants to take revenge for her partner’s death.

Jean Reno is at his best when he is playing sensitive tough guy roles, and normally he plays them very well. In 22 Bullets, I got the impression that he was largely unimpressed with the role he had been given. He coasts through the movie and delivers what appears to be a half-hearted performance. This is a great shame as I’ve seen him so much better. This is in contrast with the rest of the cast who give us some memorable scenes.

The core of the plot is the consequences of morality and what can happen if you dramatically change your life, for example, who will it affect? In this case, a reformed criminal who has decided that family is the most important thing in his life. Frustratingly, the script never fleshes this aspect of the plot out in any substantial way. There are a few random lines thrown in to give the impression that Mattei is not the cold blooded killer that his reputation puts forth, but we see a flashback where he assassinates a man during his junior years, so it is hard to have too much sympathy for a character we’re not sure of. In Leon, Reno engendered that sympathy through his interactions with Mathilda and also by his vulnerability and clear motto of only killing other criminals; no innocents. We know that Mattei wouldn’t touch the drugs trade or kill women or children but it’s not quite enough to make the character likeable. Of course, we don’t have to relate to the character but the other main protagonist is Marie Goldman, the female detective that grudgingly helps Mattei. Marina Fois battles to act in a role that is cliché ridden. She plays the cold, victim of injustice very well but ultimately is fairly unlikeable. The screenplay relies too heavily on scenes showing the main characters with their children in an effort to soften the characters but it doesn’t work for me. I only found myself rooting for Goldman at the very end when she slaps her corrupt superior.

Richard Berry’s direction is very workmanlike. This is not a criticism, it means that there is no real flash to the directorial style employed in the movie. The locations are well used and well shot. The action scenes are handled very well. There just seemed to be something lacking. Perhaps I’ve been spoilt with unusual camera angles and artistic choices in French action movies before.

Klaus Badelt turns in a competent score that underpins the visuals very well. There is a frequent use of opera music in the movie that helps distinguish Mattei from the other criminals in the movie. I found that to be a little heavy-handed in its broad stroke delivery of trying to humanise the character.

Some time before this review disc was made available to me, I remember reading harsh views on the subtitles. As I don’t know French, I’m not sure if the subs conveyed the right dialogue or not. If they don’t that might explain some of the screenplay’s shortcomings.

Summary

The movie is a bit confused as it is part revenge thriller and part Mafia movie. There are some similarities to scenes in Goodfellas crossed with The Punisher, Taken and similar revenge movies. At 1 hour 52 minutes, it’s a little too long. That said, it’s an entertaining flick with enough drama, and action set pieces peppered throughout its running time to avoid boredom. It won’t rank anywhere near my favourite movies from producer Luc Besson and actor Jean Reno but has enough going for it, to justify a look if you’re curious.

Score 5/10(Wayfarer)