36 - Tödliche Rivalen

The professional experience of a cop and the talent of a filmmaker (bravo Marchale!) combine to create a compelling crime drama that reminded me in its mood of the old Delon movies and the crime films made in France in the 1970s. The film stands on an engaging plot, the excellent performances of two of the most prominent personalities of French cinema today (I like Auteuil more and more from film to film, and Depardieu is very believable as a villain) and a raw realistic atmosphere starting with solidly shot action scenes and ending with the production design. French cinema as I like it is still alive!! Fuck Besson’s disposable production prefabs :) (29/10/2005)

I cannot help but compare this excellent crime film to the king of the genre, Heat. In several aspects, both are quite similar. Two strong characters, their families and friends, accomplices and enemies, murders, intrigues, cold nights in the city – there is indeed a lot of it. However, while Michael Mann plays out a literal epic battle, Olivier Marchal takes a more intimate approach, which is not at all a bad thing. The shortcomings of the screenplay, which is excellent in its own right, are richly compensated by the actors – their captivating performances will stay in your memory for quite a while. The action is more than solid, and the shootout at the warehouse is a breathtaking experience thanks in part to the excellent DTS sound. No sentimentality, no pathos, and no unnecessary emotions where they shouldn't be, a strong, honest, and captivating French crime drama. (03/12/2005)

It is absolutely necessary to engage in the creators' game – 36th Precinct is a very tough crime story from the old school, set in a modern visual style. Those who do not accept this will be bored. Although I also experienced it in the beginning and was surprised by the high average rating here, over time it becomes increasingly easier to believe in Gerard Depardieu's cold eyes that ominous desire for power, and on the contrary, to deduce from Daniel Auteil's that despite all his unacceptable transgressions, at his core he is about doing good. This makes the twists in the final act have an even greater impact on the viewer, where at several points I admired how uncompromising the screenwriters were. (17/03/2007)

At long last a good French crime movie following in the footsteps of the great tradition of years past. Maximum emphasis on characters and their mental states is pleasant, although they didn’t have to sideline the screenplay because of it. It is slightly brought down by the ending, which is “just" good, not on the excellent same par as the rest of the movie. The dark characters that had been so carefully constructed throughout the movie (the atmosphere as well) then seem to trail off into nothing. Had this been made in the seventies, I would give this four stars as an above-average genre piece. However, these days I can’t give it less than a full set of five: I really miss this kind of movie. And also Marchal won my admiration for his evident love for Heat. (18/06/2005)

The French once again delivered an excellent and dark old-school detective film. These are exactly the kinds of films I adore. I don’t know why, but crime films from the land of the Gallic rooster have something that really appeals to me. They always have a knack for selecting the right actors for the main roles, and this film was no exception. Depardieu was amazing, portraying a police officer who doesn’t adhere to police ethics, with the concept of justice meaning nothing to him. Meanwhile, Auteuil played his opposite—a policeman fighting crime using all legal means. The film is filled with gripping pace that gradually builds. Some scenes were phenomenal, but at times, it felt like the film got a bit stuck. However, I found these moments to be very few. A great detective film that I give 80%. (20/08/2016)