Ultimate Heist (2009)

Lack of good storyline.

A Masterpiece!

It’s fine. It's literally the definition of a fine movie. You’ve seen it before, you know every beat and outcome before the characters even do. Only question is how much escapism you’re looking for.

I enjoyed watching this film and would recommend other to give it a try , (as I am) but this movie, although enjoyable to watch due to the better than average acting fails to add anything new to its storyline that is all too familiar to these types of movies.

...where the other reviewers watching? I don't write reviews very often. Most of the time I do it to do justice. To set all those reviews from a parallel dimension straight.Inner Ring is not a good movie. It is not resourceful, the ending is not surprising and neither Reno, nor Ulliel have delivered their best performances here.The character development in this movie is so bad, it will make you cringe. As is the storytelling. I am beginning to suspect that this is a French thing, as I have seen it before. Scenes are cut together, seemingly at random. No segways, no connection to other scenes. There are apparently huge leaps in time that the viewer is completely unaware of, until a scene just doesn't make any sense. You will think "Oh, I guess some months went by" and maybe even shrug your shoulders. And slowly you will begin to lose interest in this movie. The characters apparently develop off-screen. Which is a bad thing, because this is a friggin' movie! You are supposed to see what is going on. So the audience can build a relationship with the characters. This movie fails in doing so.I conclude with the plead to look at the overall rating, which is not very good. Please, don't believe any review that rates this movie higher than 5.

Despite the Armenian church service and the historical introduction, the ethnic theme is a bit weak (and do the Armenians in real life actually have their own mafiosi?), and this hasn't the richness of Melville, or 'The Godfather,' or Téchiné's 'Les Voleurs.' But this film is satisfying precisely for the qualities that cause some to dismiss it: it's understated, elegant, and sensually pleasing, with beautiful images and a musical accompaniment far above genre and cool, classy criminals who project a sense of being fearless and professional. This is the kind of stylish European crime film with sleek cars, sunlit villas, and drives along the Riviera that you can enjoy for the atmosphere as much as anything else. Everyone dresses in black. Sami Bouajila's cop too (Bouajila the actor also himself a consummate professional, very solid here); his black outfits are just a bit dustier and shabbier. Gaspard Ulliel grows up here from most of his earlier roles (after already having become macho and heroic as the peasant hero of the 2007 'Jacquou le croquant') slicking his hair back, bulging out of his designer clothes, peering over his designer shades. Both he and Réno show very little emotion, projecting instead the dedication of stoical members of a tight clan. I don't know if you can believe Antona's plan of breaking away. How is he supposed to do that by taking over a hotel in the Camargue set up by somebody his father works with, right under his nose, and without the money for the down payment? This is less convincing and less well developed than something like Thomas Seyr (Romain Duris) wanting to become a concert pianist in Audiard's 'The Beat My Heart Skipped'. But this to me is like the beautiful, elegant 1957 'No Sun in Venice' ('Sait-on jamais'), directed by Roger Vadim, which a user wisely said is "worth it for the music and the visuals." Only 'Le premier cercle' ('The Ultimate Heist,' sadly generic title) doesn't have a classic sound track by the Modern Jazz Quartet. 'Le premier cercle' also relates to the Marseilles-based "Frank Riva" TV trilogy starring the aging, mellower Alain Delon. But 'Le premier cercle' is more stylish and restrained. It lets you wallow in cool.

I'm a Jean Reno fan but he's only one of the great things about this movie. I will agree that the beginning is a little rough. You have to think about what's going on and let it go keep its own pace for awhile. But for all its lack of grace in the beginning, nothing fatal goes on and it easily makes up for it in Acts II and III. This film is one of the most economical I've ever seen. There's hardly a wasted scene and the characters are all quite believable. Next to Jean Reno as Milo, the next most important role is played by Gaspard Ulliel as his son, Anton. The young man who plays Reno's son is quite capable and is a good match with Reno.The story is a simple one: young man wants to leave the crime family he belongs to and go straight. I would say there's little new in the story but that's not quite right, on reflection there's a lot of very important detail that really makes the story come alive. I really admire this film's ability to elicit real crime techniques and ambiance, all while giving the audience an unforgettable travelogue of what I think was southern France. Suffice it to say, I intend to seek out this director's work from now on. His name is Laurent Tuel and I believe the man deserves quite a lot of credit.

That statement of the Greek historian Herodotus chimes in with this movie whereby both of Malakian's sons were killed during gunfights with the police. Sticked in my memory; previously in Troy(2004) when his son Hector got killed, the King of Troy had gone to knee before Achilles and also very famously in Godfather(1972), Marlon Brando's character had endured in silence of his son Sonny's assassination. There are more examples to that case in earlier movies, yet those were the most remarkable ones for me. Jean Reno played the heartless father here, he caused the death of his son. His way of playing the role of his character was mediocre and occasionally it set out several instabilities.It wouldn't even have surprised me when Reno began crying whilst holding his son's corpse, who got killed trying to save his life. The main reason for that is because there was not a sign of concord between Jean Reno and Gaspard Ulliel. It wouldn't be wrong to compare Ulliel and Reno here, since it's very clear to eye that Reno gave one of his worst performances while Ulliel giving his best. Yet, even after this comparison, even Reno played his worst performance while Ulliel played his best; still Reno acted better. So, if you are watching Le Premier Cercle for one of these stars you won't like the movie. Oppositely, if you liked the movie you won't like the performances of the stars here.Le Premier Cercle continues the endless tales of immigrant crime stories that Jean-Christophe Grangé brought to mind. A family escapes from the Armenian holocaust during the World War-I in Turkey. By time the family get involved in the illegal trade of sensitive items and weapons with overseas. When history leaves its heritage to the power of the underworld empire in our present time, we know that no matter what thriller story is created the result is always same: Whoever has the power and the authority wins the lawsuit.Almost one third of this film is dealing with the common rat race between the police and the mafia. The next one third slice is crime and action which is not offering anything special or new. Finally the last one third section(apart from the erotic and dramatic segments) is a must-see suspense. Accordingly those segments come to vision very purely that editing is so simplemindedly offering us an easy-to-watch popcorn flick.The actual wonderingly awaited scenes ,which are mixed brilliantly with suspense and high tension, start when you feel that the story has begun to create a new and unexpected story. Plot has been installed with a high potential, such that when the story begins to expand; it becomes like a puzzle with "How?" and "Why?" questions coming to mind, which are getting their answers at the end. It's a film that heroes and stars die, villains live. When the moment comes shocking incidents begin to occur and from now on it's hard to guess what happens next. I strongly advise Le Premier Cercle to anybody who likes surprise suspenses.