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Revenge slices and dices genre tropes, working within an exploitation framework while adding a timely -- yet never less than viscerally thrilling -- feminist spin. Read critic reviews

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Movie Info

Jen is enjoying a romantic getaway with her wealthy boyfriend -- until his two sleazy friends arrive for an unannounced hunting trip. As tension mounts in the house, the situation abruptly and viciously intensifies, culminating in a shocking act that leaves Jen left for dead. Unfortunately for her assailants, she survives and soon begins a relentless quest for bloody revenge.

Cast & Crew

Guillaume Bouchède
Stan
Barbara Gateau
Femme de Richard (voice)
Coralie Fargeat
Screenwriter
Marc-Etienne Schwartz
Producer
Frantz Richard
Executive Producer
Hicham El Ghorfi
Executive Producer
Robrecht Heyvaert
Cinematographer
Bruno Safar
Film Editor
Jerome Eltabet
Film Editor
Robin Coudert
Original Music
Pierre Queffelean
Production Design
Elisabeth Bornuat
Costume Designer
Martin Rougier
Casting
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News & Interviews for Revenge

Critic Reviews for Revenge

All Critics (134) | Top Critics (37) | Fresh (125) | Rotten (9)

  • With her stylish and bloody rape-revenge thriller, French first-timer Coralie Fargeat turns a disputable subgenre upside down.

    December 26, 2018 | Full Review…
  • Rape. Blood. Desert. Blood. Death. Blood. Drugs. Did I mention blood?Revenge, directed by Coralie Fargeat, is the French rape-revenge film you've been waiting for.

    August 27, 2018 | Rating: 3/4 | Full Review…
  • A stunning reinvention of the rape-revenge exploitation film that had me sitting at the edge of my seat first frame to last.

    May 31, 2018 | Rating: 3.5/4 | Full Review…
  • What happens next is expected-a roaring rampage of revenge, with each of the three hunters confronted like a video game boss-but Fargeat has some fun tricks to deploy.

    May 23, 2018 | Full Review…
  • Revenge won't be an experience every viewer can handle, but as a piece of extreme horror, it's an intelligent and flashy debut.

    May 21, 2018 | Full Review…
  • If you usually find the genre icky and exploitative, try this one-but only if you've got the stomach for an abattoir's worth of blood in a single movie.

    May 17, 2018 | Rating: 4/5 | Full Review…

Audience Reviews for Revenge

  • Oct 19, 2020
    The beautifully shot and engrossing revenge thriller "Revenge" takes a bit of suspension of disbelief when the big twist happens. If you can get past that, the protagonist channels Mad Max and you'll ultimately enjoy the ride.
    Mark B Super Reviewer
  • Jan 06, 2019
    We need to talk about this movie's star, Matilda Lutz. In my review of Rings, a terrible soft reboot of the Ring franchise, I mentioned that Matlida Lutz gave one of the worst lead performances I've seen in a long time and I stand by that, she was fucking awful in that movie. But I also pondered as to whether or not that was because the cuts that were chosen weren't exactly the best. Regardless, I don't think that, if you're a good actor, you're gonna suck in one take and be good in the other, unless you purposely try to suck in one of those takes. I mentioned the fact that she starred in this movie, which has been critically acclaimed, and that I reserved judgement on Matilda's talents, or lack thereof, until I saw this movie. So, can you guess which movie I saw yesterday??? I mean, you must be really dumb if you can't figure it out. Anyway, in all honesty, I didn't get much from Matilda out of this movie. Don't misunderstand me, however, she is tremendous at the physicality of this role, and it is one that is incredibly demanding, what I mean is in terms of her delivery of lines. The reason I say this is that Matilda, really, doesn't have that many lines in this movie, so you can't get a sense of how good she is or not at that particular aspect of the game. Overall, however, in the physical side of things, she is tremendous. She is put through quite the ordeal in this movie and Matilda is more than up to the task. With that said, as always, I've always believed that rape is a really tricky subject to explore in films. In many ways, however, I think it's far more difficult to explore in films outside of the exploitation genre, like dramas. You have to walk a fine line between being, umm, well, exploitative and being sensitive and that's a fine line that most movies are not able to walk. The example of Don't Cry, Mommy (a terrible South Korean movie) comes to mind immediately. That movie was so exploitative that, really, the rape was nothing more a way to drive the narrative forward. The person that was raped wasn't really a character, she was just a device to get that girl's mother to take matters into her own hands. However there are movies like Hope (I believe that's what it's called), another South Korean movie, where the rape (of a little girl) is used to tell a story about a father regaining his daughter's trust. There's some melodramatics in this movie as well, but they're not as overbearing as it was in Don't Cry, Mommy. Again, the goal for Hope was to tell that story of the parents rebuilding their daughter's life from scratch and a father desperately hopeful to reconnect with his daughter after a traumatic experience. In exploitation movies, however, that all goes out the window. This, of course, falls under the exploitation genre, but, even then, the film sort of uses the rape as the jumping off point for everything else the movie has to offer. Does that work as a plot device? I guess it does, but it doesn't feel tasteless, which is honestly surprising. Neither here nor there, I suppose. The story sees Jennifer is in a relationship with a married man. They go to his secluded house in the desert for an annual hunting trip. Richard's (the married man) two buddies show up a day before they're supposed to. Long story short, one of Richard's buddies, Stan, ends up raping Jennifer after she rebuffed his advances since, the night prior, Stan felt that she had come on to her due to a provocative dance. There we go with that 'logic' again. Dimitri, the other guy, walks in, watches the rape for a few seconds and the leaves without doing anything. Richard arrives later and he tries to console Jennifer while, at the same time, blaming her for the assault as she is 'too beautiful to resist', I think is what he said. I almost facepalmed my hand through my face. Jennifer runs away after Richard slaps her when she threatened to expose him to his wife, reaching the edge of this cliff. Richard reassures her that everything will be fine, he pretends to call the helicopter that dropped them off to pick her up. Of course, he was lying, he pushes Jen off the cliff and she ends up being impaled on this tree at the bottom. Richard is hopeful that Jen is dead, so they could cover up both the rape and the murder after they're done hunting. You could say that this is when the movie really begins, as Jen is determined to hunt these fuckers down and, hey, who can blame her??? The thing with this type of exploitation movie, that still has some very timely themes (particularly with some morons blaming rape victims), is that it needs to be quite visceral in its depiction of the violence the victim employs on those who assaulted her. Because, otherwise, it feels like somewhat of a ripoff. This movie, however, is anything but a ripoff. The violence, all around, Jen included, is quite extreme. But, at least in the case of Jen hunting down and murdering those that were responsible for her current situation, it needed to be that way, because you need to feel that sense of satisfaction that Jen is meant to feel as she gets rid of the fuckers. If it's not brutal, it sort of feels like the bad guys got off easy. So props to the movie for not shying away and giving us that satisfying payoff to Jen's vengeance. The climactic act, with Jennifer finally going after Richard is tense and intensely gratifying. The thing about the movie is that it is quite artfully directed and the cinematography, with the harsh desert fully displayed, is phenomenal. This is very much an exploitation movie, but it's one arthouse sensibilities and a really cool synth score. With that said, however, it's not like this is a perfect movie. There was something keeping me from giving this the full four stars. I don't know what it was. I do think that there's some issues with the pacing that could have been ironed out. That's probably the only major issue I had. The film's first hour flies by, but it ends up dragging a bit after this point. I was also gonna point out that it was a very decidedly one-note movie, but I can't really complain about that. The film had a clear goal in mind and it worked steadfastly to achieve that goal. In spite of my issues, this is still a damn good movie and one that I would easily recommend, if you know what you're getting into and you're not squeamish.
    Jesse O Super Reviewer
  • Dec 10, 2018
    Coralie Fargeat's Revenge is, from the outside, a pretty standard exercise in retaliation with some bloody gore and satisfying moments of, well...revenge. More than this though, the way it breaks between who Matilda Lutz's Jen is and how she is treated and who she becomes and ultimately treats those that mistreated her is a fantasy that, if one picks up on the bigger ideas, makes this neon-colored, techno-scored tale of vengeance much less of a fun diversion (which it can totally be taken as if that's all you want from it). More, Fargeat (who also wrote the screenplay) reminds us of how easy it is for people to be taken advantage of and how much of a shame it is that justice is rarely ever served-properly or not. Fargeat, along with Jerome Eltabet and Bruno Safar, edit the shit out of this thing as well and lend those "there if you look for them" layers that much more poignancy.
    Philip P Super Reviewer
  • Jun 09, 2018
    MAD TO THE MAX - My Review of REVENGE (4 Stars) Reminiscent of the stamp George Miller put on action cinema with MAD MAX in 1979, writer-director Coralie Fargeat announces herself with the bloody, exploitative, well-past-midnight movie glory of her feature debut with REVENGE. Although it owes a huge debt to Miller and his over-saturated desert landscapes and his gift for near wordless storytelling, REVENGE tweaks the genre by doubling down on the stuff you shield your eyes from, resulting in longer shots of gore which descends into a literal blood bath. Consider yourself either warned or primed depending on your taste. Set in an unnamed American desert, the film introduces us to Jen (Matilda Anna Ingrid Lutz) as she hops off a helicopter with her boyfriend Richard (Kevin Janssens). In case you haven't figured out that Jen is the Lolita type, she dons sunglasses and sucks on a lollipop. She's a pouty, spoiled LA woman, addicted to her iPhone and used to trading on her sexiness. Richard, a married man, has taken Jen to a hyper-stylized house in the middle of nowhere to have a lot of sex (Pssssst! These two ridiculously attractive specimens get naked a LOT in this film). Of course, trouble comes in the form of two of Richard's friends, Stan and Dimitri, who show up one day with rifles in hand. There to accompany Richard on a hunting trip, they get instantly distracted by Jen, male gazing the shit out of her, which leads to brutal sexual violence. Fargeat understands the fragility of the male ego and exploits it well in deft scenes showing how each of the men feel slighted by a woman who for so long has kept her true power under wraps. She has learned how to subjugate herself to win over men, but now she has to find much deeper inner strength in order to survive when the men leave her for dead. Let me skip back for a second, for when I describe the violence as brutal, I haven't truly explained that the manner in which they leave her isn't for the faint of heart. I won't spoil it here, but impalement and its aftermath play a big part. It's horrific and Fargeat allows a visual reminder of it to stay onscreen for most of the film. As the title implies, Jen then spends the rest of the film trying to stay alive and get back at these three terrible men. We witness the birth of a warrior, perhaps not as assertive as Sigourney Weaver's Ripley or as tormented as Charlize Theron's Imperator Furiosa, but she's a worthy successor. Fargeat forces us to rethink the girly girls of the world, often dismissed for lacking depth and ingenuity, and through Jen gives us cause for celebration. Although some of the dialogue is in French, the subtitle-averse shouldn't worry as this is pure visual filmmaking of the highest order. Cinematographer Robrecht Heyvaert and Editors Jerome Eltabet, Bruno Safar and Fargeat herself make every shot, every transition count. It's cinematic candy until it turns excessively bloody. Shots of glass being pulled out of feet or various mutilations go on for so long as to feel grossly hilarious. There's a great set piece involving a self-made tattoo which you won't soon forget. You can feel Fargeat playing with you, taunting you, and daring you to stare at the screen. Truth be told, with a story as simple as this one, it overstays its welcome with its 108 minute running time. This type of grindhouse thriller should have clocked in at a lean 90 minutes, but it's a minor criticism for something so energetic as this film. Plus, Fargeat has an interesting feminist perspective which puts other exploitation movies to shame. She's playing with the same tool box but applying her unique voice and I imagine I'll be watching her films from behind my hands for a long time to come.
    Glenn G Super Reviewer

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