Like Hitchcock, Kahn uses dry humor and keen observation of human character (and character flaws) to spin a compelling brand of menace.
Red Lights (2004)
Tomatometer
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Reviews Counted:84
Fresh:70
Rotten:14
Average Rating:7.1/10
Consensus: Red Lights is a taut, character-driven thriller, set against the debris-strewn battleground of a failing marriage.
Theatrical Release:Aug 20, 2004 Limited
Box Office: $515,992
Synopsis: Starring French cinema legends Carole Bouquet (THAT OBSCURE OBJECT OF DESIRE) and Jean-Pierre Darroussin (UN AIR DE FAMILLE), director Cedric Kahn's thriller, based on a novel by Georges Simenon,... Starring French cinema legends Carole Bouquet (THAT OBSCURE OBJECT OF DESIRE) and Jean-Pierre Darroussin (UN AIR DE FAMILLE), director Cedric Kahn's thriller, based on a novel by Georges Simenon, features dry humor and Hitchcockian suspense. The relationship between Antoine (Darroussin) and Helene (Bouquet) is deteriorating. Helene spends more time at work, Antoine drinks, and the two act like mere acquaintances, not lovers. When Antoine stops at a bar and Helene threatens to continue without him, a fight erupts between them. Angry and drunk, Antoine insists on staying in the bar, but when he emerges he finds the car empty, save for a note saying that Helene has left for the train. In a drunken stupor, Antoine attempts to follow his wife's trail, joined by a mysterious and dangerous hitchhiker, without realizing that the obvious way to find her has been in front of him the entire time. Bouquet and Darroussin play off each other beautifully. Darroussin convincingly plays a man who has lost himself. And Bouquet is strong as a wife who has placed her husband at the bottom of her priority list. That a tragedy is the one thing that can help them repair their fractured marriage feels palpably realistic. At its heart, RED LIGHTS is an exploration of intimacy, love, and what it takes to build a successful relationship, but the film also provides satisfying humorous chills and nice dose of suspense. [More]
Starring: Jean-Pierre Darroussin, Carole Bouquet, Vincent Deniard, Carline Paul
Starring: Jean-Pierre Darroussin, Carole Bouquet, Vincent Deniard, Carline Paul, Jean-Pierre Gos
Director: Cedric Kahn
Director: Cedric Kahn
Screenwriter: Cedric Kahn, Laurence Ferreira-Barbosa, Gilles Marchand
Story: Georges Simenon
Studio: Wellspring
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Reviews for Red Lights
This French ... opens so promisingly that it's tres tragique when, two-thirds along, it makes a U-turn into the melodramatic and maudlin.
The film, like the cheap double-scotches quaffed down by the central character, leaves a distinctly sour aftertaste that's hard to wash away the morning after.
An eerily affecting domestic drama combining elements of The Lost Weekend with Lost Highway.
Psychologically dense and often unnerving, Red Lights takes you into the most dangerous territory of all -- the twisted mind of a man, whose facade crumbles over the course of an evening.
Red Lights blends the blind tension of Hitchcock with a French sense of inevitability, leading us back and forth between action and surrender before ending just where it should.
Events never transpire as one would expect from a more conventional thriller.
Red Lights bristles with subcutaneous fear at signals which Hollywood thrillers routinely run.
One of the best thrillers I have seen this year: tight, taut, and unpredictable.
Its pace is altogether too measured, but ultimately pays off in broad Hitchcockian strokes
It evokes the spirit of Hitchcock and Highsmith, as Antoine undergoes an all-night odyssey that redeems his manhood, at the expense, naturally, of all good behavior.
Had Kahn got the finale right, Red Lights would be up there with the best of them. But don't worry: you'll be too drained leaving the cinema to complain too loudly.
An excellent performance from Jean-Pierre Darroussin is the driving force in what could be described as a psychological drama, a road movie and a thriller
Some viewers, such as this one, may find themselves thinking: 'None of this would be happening if the bartenders at French roadhouses refused to serve alcohol to the designated driver.'
| Tomatometer Percentage | Movie |
|---|---|
| 66% 66% | Public Enemies |
| 83% 83% | Harry Potter and the H… |
| 44% 44% | Night at the Museum: B… |
| 75% 75% | Julie & Julia |
| 32% 32% | Terminator Salvation |
| Tomatometer Percentage | Movie |
|---|---|
| 88% 88% | Inglourious Basterds |
| 78% 78% | The Hangover |
| 49% 49% | Taking Woodstock |
| 26% 26% | The Goods: Live Hard, Sell Hard |
| 47% 47% | The Girl From Monaco |
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