SERIOUSLY. This is what the crap Hollywood still puts out?

One of my all time favorites.

This is a must-see and one of the best documentaries - and films - of this year.

Each character in this movie — down to the smallest one — is an individual rather than a type, prone to spontaneous changes of mood and sometimes amusing outbursts of pettiness or ill humor.

If you think this is another tale of "two different cops who end up being best friends in 90'" think again. As a thriller, it definitely entertains. Its characters, although stereotyped, are not unbelievable. Patrick Bruel is fine as a young brash cadet, but Patrick Bruel steals the show. He barely speaks, moves very little, with an economy of movements that shows self-mastery.Sociologically, it's interesting how both share close ties with family, tradition and religion. Unlike their "secularized" French partners, they have ties with both the modern and the pre modern world. While not pretending to be a "deep" film, it surely entertains. Claude Brasseur is fine as an "enmerdeur" boss. Corinne Dacla is a great "Iddishe mamme", good natured but nostalgic, possessive but loving. Corinne Dacla's got good legs. Cinematography is good, if a bit "for export". Like the 80's music. It looks like a Sly Stallone movie but is definitely better (and I do like Sly).Enjoy without pretence.

The year was 1989, which has always been one of my fave years in pop culture, in movies AND music. Now, I saw this at the cinema at the time and considered the film a gritty, convincing, engaging and exiting bit of policier. Keep in mind I was 15 at the time. In this film, Richard Berry plays an *spoiler* undercover agent who has to team up with Jewish cop Patrick Bruel to infiltrate a network of radical Muslim terrorists. I was exited to see this programmed on TF1 last week and taped it, hoping to catch some of that teen sentiment again. Boy, was I ever wrong. From a chilling cop movie with a social conscience, this had aged into an unintentionally funny, heavy handed and clichéd piece of work with the worst soundtrack this side of Jess Franco's "Faceless". Nevertheless, I kept watching of course and realized that this was one of those badly aged movies that despite of it's complete awfulness keeps you glued to the screen. If you like your cop movies populated with clichéd characters, featuring bouts of exaggerated violence and a soundtrack that makes you want to punch your TV-screen, this one's totally for you.