646f9e108c Bank-robber Franck Adrien is serving a prison sentence after robbing a national bank. Before he was caught he managed to hide the money but now it's not just the police who are looking for the money. His cell-mate is Jean-Louis Maurel, an alleged rapist/child molester who claims his innocence. When the court finds Maurel not guilty, Maurel promises to look after Franck's family when he gets out. But one day, a man called Manuel Carrega tells Franck that Maurel is a suspected serial killer and that Franck's family is in danger. Franck escapes from prison and police officer Claire Linné and her team take up the chase. You get just about everything in this movie. Who doesn't like stolen loot, prison scenes, fights, plots & twists, shoot-outs, betrayals, and the unexpected? Entertainment is presented and never lets up after a certain point. Only good movies can cause thriller, tensed up feelings where nails are ripe for the biting and one grips the arm rest. Its a good ride, decent story, exceptional acting and direction is good. It appears everyone liked being in this movie and because of that, we get what we wanted…a solid action flick back. Escape here with a tasty drink, some snack and no texting or distractions. Let the movie have you until it lets go…Well done. This is a first rate example of what we may call the Olivier Marshal school of French film making, all the more effective because the cast, whilst well known in France are not exactly 'names' and are virtually unknown outside France other than to French film buffs. Six years ago Albert Dupontel was playing a concert pianist in Danielle Thompson's superb Fauteuils d'Orchestre, now he is a convicted bank robber turned hunter who is himself being hunted by a crack - or maybe not since he keeps eluding them - police team led by Alice Taglioni, more at home in romantic comedy (La Doublure) than thrillers but like Marina Fois before her she makes the transition smoothly and painlessly. The corruption among prison officers is virtually thrown away and so matter of fact that we can only assume it is widely accepted in France but the real virtue of the film is the pace which never lets up possibly because if it did we might actually question the seeming invincibility of Dupontel. In the last few years both Olivier Marshal (36, Quai des Orfevres) and Guillaume Canet (Ne le dis personne) have both turned out first-rate thrillers very similar to Le Proie and slightly superior but in both cases they have had the benefit of large budgets and heavy-hitters in the casts but pound-for-pound Le Proie can stand beside either. Excellent. Director, Eric Valette, is an exuberant market-stall trader, hawking knock-off ingredients.
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