The Connection (2015)
Critic Consensus: The Connection doesn't do itself any favors by forcing comparisons to The French Connection, but it's a reasonably entertaining thriller in its own right.
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as Pierre Michel
as Gaëtan "Tany" Zampa
as Jacqueline Michel
as Le Fou
as Christiane Zampa
as José Alvarez
as The Banker
as Franky Manzoni
as Marco Da Costa
as Lucien Aimé-Blanc
as Ange Mariette
as Gaston Deferre
as Jean Paci
as Fabrizio Mandonato
as Charles Peretti
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Critic Reviews for The Connection
A byzantine, if ultimately conventional, heroic tale that feels like a guided tour down a familiar alley.
There is ample photographic evidence that the '70s were not, in fact, the best-looking, coolest decade ever. But you wouldn't know it from watching The Connection.
It's a stylish affair, very solidly made if not exactly breaking new ground in our understanding of events or in the way the movies depict them.
It may prove too slow for some and the meandering can be a little maddening, but overall it's worth the effort.
It starts with gunshots - a Mercedes and its driver are riddled by motorcycle-riding assassins in broad daylight - and the pace of "The Connection" is bang-bang brisk most of the rest of the way.
Audience Reviews for The Connection
This is a polished French product, as one would expect, even if the personages are a little caricatured. The production is perfectly styled for 1970s Marseille, and the bright, white Mediterranean light and sweeping coastal vistas are superb. The story is gripping on the French drug-busting theme, with some dangerous Italian wit on the side. No film on the French Connection would be complete without a car chase; this one is not what you'd expect. Rather strangely, just as you think that the film is about to end, it starts up again with the characters taking on wholly new aspects, even reversals of who they previously were, as if you are watching not even two episodes of a miniseries stitched together, which perhaps it was designed to be, but a rather disjointed sequel. The ending is most unsatisfactory, as indeed it must have been, if that is what occurred, but it is not surprising. A lot of modern crime fiction and film from Europe today is about the inevitability of corruption and the persistence of the various gangs and clans. It seems then that little has changed, except no doubt to get worse, since the period depicted in this film.
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