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good back-story, and good acting

At first rather annoying in its heavy emphasis on reenactments, this movie ultimately proves fascinating, simply because the complicated, highly dramatic tale it tells still almost defies belief.

Ok... Let's be honest. It cannot be the best movie but is quite enjoyable. The movie has the potential to develop a great plot for future movies

A great movie, one of the best of this year. There was a bit of confusion at one point in the plot, but nothing serious.

I found the plot a bit unrealistic. The main character does extreme things, but the reason for acting that way does not match what actually happened to her, unless you are crazy. The acting in the office environment was not the best either, talking about reports and files in a non-realistic way. However, although you can see what is going to happen early on, I found that I wanted to stick to the end to see how it all works out. There is a little bit of a twist at the very end as well, but because of many close-ups leading up to that, you sort of could see that coming too. The end is unsettling in a way, but I guess in the end the main character pays for her deeds as well. In the end the truth will come out. All in all, I thought it was engaging till the end. And that is also something to look for in a film.

This is the last film directed by the late Alain Corneau, who is most famous for his magnificent film TOUS LES MATINS DU MONDE (ALL THE MORNINGS OF THE WORLD) of 1991, which introduced the magic of the viola da gamba to a wider audience than it had ever before known in modern times. (It has a deeper, more resonant, and more mellow sound than the cello, and is my favourite string instrument. Bach's 'cello' works were really written for the viola da gamba. Everyone should hear Paolo Pandolfo's recording of Bach's 'cello suites' on the proper instrument.) In this last offering of his oeuvre, Corneau explores mortal combat between female business executives, those daring ones who have penetrated the glass ceiling and are now living and struggling inside it. Kristin Scott Thomas plays Christine, a ruthless egotist who will do anything to get what she wants. She is cruel, heartless, narcissistic, and more vicious than a cobra. Working in a position below Christine is Isabelle, played by Ludivine Sagnier, whose evolution during the course of the film from a sweet, trusting creature of traditional femininity into a fighter and a killer is an amazing screen transformation. When Isabelle is publicly humiliated by Christine, she snaps. One of them has to go. The claims that this is a film noir are true. Noir is not dead, and the rare true modern versions of it are often little masterpieces, as this film is. The director does not stray off piste, but keeps us focused on the essentials with relentless determination. We never learn why Isabelle was sweet to begin with, and we never learn why Christine is so heartless. Where they came from, what their early experiences were, how they became what they are, are subjects which are entirely ignored. In this film it is action, action, action. But instead of 'action' meaning the ridiculous car crashes and explosions of so many so-called 'action films', here we have real human action. With women as the characters, 'action' does not have to constitute external phenomena as is the case with men. For women, 'action' is the deadly silent conflict between personalities, and how they outwit each other. This is a true 'psychological thriller', whereas many claims of that kind are made by films which are not all that psychological. Strategy and tactics are not exclusively male concerns expressed externally through wars. They are just as important to women, expressed internally as quiet, deadly, psychological combat. Watch and learn!

Having watched Sweet Karma earlier tonight, I don't know if I was in the mood for two revenge movies, but this is very different.A favorite of mine, Kristin Scott Thomas (The English Patient, Four Wedding and a Funeral) stars with another fave, Ludivine Sagnier (Swimming Pool, 8 Women). They are number one and two in a multinational's Paris location. Christine Thomas) is not above stealing the ideas of Isabelle (Sagnier) to get transferred to New York.This was director Alain Corneau's last film, and it has already been picked up for a remake by Brian DePalma coming out this year. It is rumored that Rachel McAdams (Sherlock Holmes, Red Eye) and Noomi Rapace (the original Lisbeth Salander) will star.After Christine threatens and humiliates Isabelle, she plots her revenge. Needless to say, it is an elaborate plot. I can't say anything more or it will spoil the film for you.It had me on the edge of my seat in the second half.

Funny how Corneau's last opus looks like,in several respects ,his first one "police python 357" ;both works are based on clues:clues which backfire on Montand in the 1975 work;clues scattered by the heroine in the final effort.Not that the screenplay is very original;it's in the grand Boileau/Narcejac tradition ;even the bisexuality (Scott -Thomas probably loves men and women)was present in their novel "Celle Qui N'Etait Plus " transferred by Clouzot as "les Diaboliques" .It's difficult to tell if the conclusion is moral or not :after all the boy who discovered the truth might probably in love with the heroine.Best performance comes from Scott -Thomas who ,alas,disappears too soon.