DubyaHan The movie is wildly uneven but lively and timely - in its own surreal way

Robert Joyner The plot isn't so bad, but the pace of storytelling is too slow which makes people bored. Certain moments are so obvious and unnecessary for the main plot. I would've fast-forwarded those moments if it was an online streaming. The ending looks like implying a sequel, not sure if this movie will get one

Adeel Hail Unshakable, witty and deeply felt, the film will be paying emotional dividends for a long, long time.

Philippa All of these films share one commonality, that being a kind of emotional center that humanizes a cast of monsters.

morrison-dylan-fan In mid-2016 a friend invited me to check a box of DVDs he had purchased at the market.The first cover to catch my attention was a cool-looking French Neo-Noir that I've never heard of before. Rushing to check the movie, I was disappointed to find no English Subs on the disc,and little sign of the film online. Continuing to try and find a version with subtitles for over a year,I was happily caught by surprise,when a fellow poster on the Fistful of Leone directed me to the place where I could at last say, so long.View on the film:Fuelling up in early 80's France, co-writer/(with Alain Page) director Claude Berri & cinematographer Bruno Nuytten pull Neo-Noir atmosphere through a Cinéma Du Look (CDL) filter of dusty neon blue igniting Bensoussan's moped ride along the underbelly of the city. Dragged away from his dead-end job by Bensoussan,Berri makes Lambert's confrontations with local gangsters crackle with short, blunt force Noir violence, spiked by the ruby red lights of Lola's Punk culture rumbling into their lives.Adapting Page's own novel,the screenplay by Page and Berri brilliantly scrambles Neo-Noir grit to the stylisation of CDL, via the Film Noir loner getting converted to the trio (and in Lola and Bensoussan cases: youthful rebels) being outcast of society,each stuck in a wilderness they can't escape, ruled with an iron fist by separate from each of them, the writers brilliantly make Lambert become the centre of the group by his tough-nosed actions being driven by a desire to keep Lola and Bensoussan safe,which shatters in a freeze-frame final.Stomping into their lives,Agnès Soral gives a whirlwind performance as Lola-at first powered by Soral with a Punk thump against any attempts made to bond with her, which Soral curls into compassion as she learns of Lambert's past. Bringing the trouble to town,Richard Anconina gives an infectious performance as Bensoussan,which sparkles even as he gets in too deep. Famed as a stand-up comedian, Coluche (who died age 41 from a motorbike accident in 1986) gives an amazing performance in his first "serious" role as Lambert,thanks to Coluche capturing how the outsider status has worn Lambert down, until the crossing of tracks with Lola and Bensoussan has Coluche crunch down on Lambert with a determination to say, so long.

Kirpianuscus a film noir. it is the most easy definition for a film who escapes to a clear verdict. because it is one of the films who, after the final credits, becomes a state of emotions. sure, the great merit has Coluche. but he is part of an impeccable story, simple, honest, touching, bitter, about friendship and errors of past, appearances and love, justice and purpose of a broken life. a film like a confession. about yourself and about the others. and about the need to escape from yourself doing the right things in the right manner. a story who becomes a state of soul. this is the most important thing for this film. and the basic motif for who it is different. special. a sort of masterpiece out by ordinaries rules.

Bob Taylor Claude Berri is one of the great artists of family life in French cinema. I have enjoyed so many of his films about youth, courtship, marriage and fatherhood: Mazel Tov, Le cinéma de Papa, La première fois, Un moment d'égarement. The first half of Tchao Pantin works well in this framework, but the second half is just a routine revenge story.I didn't really respond to the alcohol-blunted efforts of Coluche to rally himself to avenge the killing of Richard Anconina, nor did Agnès Soral's emotional about-face--deciding to help Coluche find the killer--seem believable. This actress has a very inexpressive face, and body to match. A tribute to Bruno Nuytten's wonderful cinematography is in order: there really is nobody like him for rainy night scenes. I'll give 10-10 for Coluche and Anconina, and zero for the rest.

thegreatswan Lambert is alone. He drinks every night, working at a gas station by night, barely speaking to anybody. One night, Bensoussan, a young dealer, half-Jew, half-Arab, runs into his life. In spite of Lambert's drug hatred, a kind of friendly bond begins between them, even a father-son like relationship. But although we learn more and more about Bensoussan, we still have no clue about Lambert... Soon, Bensoussan's drugs are stolen. As he can't refund his boss Rachid, he's killed by Rachid's henchmen in front of Lambert's. Then, Lambert changes in front of us. While he's on the trail of Benoussan's murderers, killing every one of them, we finally know who he is...err, who he was. But this revenge will be both his own redemption and his fate...The title may be odd : "Tchao" is a mispronunciations of "ciao". "Pantin" means both "Dummy", "Idiot", but Pantin is a small Paris' north suburb town too. Anyway, even French people can't explain the real meaning of the title... I'm writing this as the movie is played on M6... Coluche died 20 years ago and for us, it seems like it was yesterday. We will always see him as a clown, as a nice funny guy, but "Tchao Pantin" is here to remind us that he was an actor, a real great one. Anyway, you can't be disappointed with that film : the storyline isn't very original (revenge), but the characters are so touching and pathetic that they made the movie one of the best French movies of the 80's. Sad but excellent.