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reviews

35
Based on 9 Reviews
critic reviews (9)
fan reviews ( 0 )
  • 50
    Frank Scheck The Hollywood Reporter

    Slickly executed with glossy, neon-drenched cinematography and a throbbing techno-music score, Paris Countdown sacrifices substance for stylishness, as has become the distressing tendency of so many recent crime dramas. But its fast pacing, compelling lead performances and frequent doses of action prevent boredom from settling in. show more

  • 50
    Farran Smith Nehme New York Post

    It’s a mildly interesting thriller — Paris through the eyes of a director who doesn’t know how to make its beauty menacing. show more

  • 38
    RogerEbert.com

    A middle-aged bromance tucked inside a French crime thriller, a slick and brutal B-action picture that finds writer-director Edgar Marie channeling Nicolas Winding Refn channeling early Michael Mann. show more

  • 40
    Time Out New York

    Despite the ingredients for a rousing shoot-’em-up (two-timing hit men, a slo-mo shoot-out, chartreuse-filtered scenes in Mexico) it’s hard to buy the leads’ mastery of this world of fist-pumps and violence. show more

  • 40
    Sam Adams The Dissolve

    Paris Countdown has style to burn, where “style” means “uses lots of lighting gels and some camera flourishes,” but it doesn’t have a coherent point of view or a solid take on the genre. show more

  • 50
    Rachel Saltz The New York Times

    Mr. Marie, making his debut as a director, swathes their tale in a thick coat of style that teeters between cool and mannered. show more

  • 30
    Village Voice

    The skirmishes are alternately silly and wan. The film's gloomy techno score is its most lasting attribute. show more

  • 30
    Robert Abele Los Angeles Times

    If Michael Mann, Luc Besson and Quentin Tarantino all ate the same bad sushi together, the unfortunate end result might just resemble the pre-digested pap that is the French thriller Paris Countdown. show more

  • 30
    Peter Debruge Variety

    This been-there-done-that story marks a pretty banal debut for writer-director Alain Marie, who seems far more interested in aping Refn and early-career Michael Mann than in finding his own style. show more

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