approach this remake takes in
that regard, but I will say familiarity with the original certainly
adds to the tension, in a similar
way to how after your initial viewing of Psycho, you find yourself
rooting for Norman Bates on
most subsequent watches.
Laurent Eyquem’s pounding
of Besson, Carax and Beneix,
all throbbing neon and smooth
tracking shots. The opening getaway scene is particularly well
handled, a visceral piece of filmmaking that throws us into the
action. As a writer, he’s not so
assured, with the dialogue here
consisting of little more than
It’s all too easy to groan at the idea of a
remake, especially one that dares to take
on material covered by an auteur like Bava
score is an electrified updating
of Stelvio Cipriani’s original, and
in a way Hannezo’s movie is a
case of remake as remix. Besson
meets Bava, this Rabid Dogs is
a slick affair, decidedly Gallic in
spite of its Canadian location.
Hannezo’s visual style recalls
the ‘Cinéma du look’ movement that sprang up in 1980s
France, spearheaded by the likes
NewJerseyStage.com
generic B-Movie crime picture
talk, though that’s an accusation
you can also level at the original. However, the cast is strong
enough to elevate the material,
though Ledoyen is significantly
short-changed; gone is the sexual degradation of her character
from the original, but Hannezo
hasn’t found anything interesting to replace it.
2016 - ISSUE 1
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