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Clever, believable, and super fun to watch. It totally has replay value.

It's easily one of the freshest, sharpest and most enjoyable films of this year.

I enjoyed watching this film and would recommend other to give it a try , (as I am) but this movie, although enjoyable to watch due to the better than average acting fails to add anything new to its storyline that is all too familiar to these types of movies.

There are moments in this movie where the great movie it could've been peek out... They're fleeting, here, but they're worth savoring, and they happen often enough to make it worth your while.

(Flash Review)Cut fun the same cloth as Rififi (1955), Rififi is tailored suit, while Le Cercle Rouge is merely something grabbed off the rack. Both are stylish and intricate heist films with minimal dialog and stark shot framing. Le Cercle Rouge starts off with a chap being released from prison and immediately getting back to his bread and butter, stealing, by meeting up with a skilled former policeman and later and unconvincing, I must add, a third man who is actively on the run after a daring escape from police custody. Later on the three plan an elaborate jewelry store heist full of bravado and arrogance. Will they succeed or fail? Live or die? They are all smooth and confident blokes who don't say much which is echoed by the lack of music in the film. While patiently paced, it feels dull at times and there are too many eye rolling plot decisions which hurts the overall effect. Overall, it was stylish and fun but could have been stronger.

for the story. for acting. for music. and for the wise manner to define each character. after many films from same genre in the "60'-"70', Le Cercle Rouge cold seems be part of a series. but the work of a great director, a splendid cast - the performance of Bourvil is one of the great revelations -, the care for details and the shadows of personal stories as mixture of flavors are the virtues of a thriller who remains more than memorable. a film about few people as signs of theirs worlds. about duty. and about forms of madness. all - very simple. almost like drawings of a state of soul. a film about solitude.and a splendid atmosphere.short, a film who must see. maybe, only for the delicacy to expose delicate things who define each of us.

Melville has always had an attention to detail that would seemingly put his films in the realm of realism, but often delved into abstraction and formalism. Nowhere is that more apparent than "Le Circe Rouge" or the Red Circle.We start with two parallel characters: Corey, recently released with an offer for an "easy" heist job and immediately robs a local gangster for money to get himself back on his feet, while another felon, Vogel, escapes while being transported and prompts a nation wide manhunt. The two come across each other by chance, both deciding to take the job after enlisting the help of an alcoholic former ex-cop. These three characters are total abstractions. Histories are hinted at, but never explored. Unlike Jeff Costello, there's little to analyze or think about. It's like they were born into this world at film's start, empty shells carrying on like wind up toys. This parred down method may not please those wanting more fleshed out characters, but it does add to the film's tone and atmosphere, and seems to be a deliberate choice rather than an inability to create good characters (which Melville's films have done many times)In contrast is the inspector, the one who was escorting Vogel when he escaped, and who escaped due to him giving Vogel the benefit of the doubt, but as his superior tells him, "all men are guilty". The inspector must hunt them down, and finds himself using increasingly sinister tactics, including trying to force the owner of a club to inform, despite the latter's strong, somewhat honorable convictions against such. These are the most realized characters in the film.The film has a grayish, foggy look to it, almost akin to a dream state, and that's the best way to describe the film, like a dream. Full of coincidence as well as some bizarre scenes (such as the spider dream sequence), taking this film as a straight forward heist film will result in disappointment. The minimalism in dialogue as well as music add to this surreal and bleak mood prevalent throughout the movie. This is the definition of a slow burn, and one is advised to simply soak this all in as they watch rather than waiting for plot development. I know when I first saw it, I was kind of baffled, but the film remained firmly on my mind for awhile, which is when I began to appreciate the beauty of this film as his truly most abstract work.No review should go without mentioning the heist scene. Twenty five minutes and without dialogue, it never drags because of the impeccable lighting and unwillingness to cut corners. You will see everything, and it is exciting. Michael Mann tried to create similar kinds of heist sequences in "Thief", and as good as that film is, it couldn't pull off those scenes with quite the power Melville did here.At two hours and twenty minutes, the movie is far more likely to feel too fast than too slow. Amazing how such a slow pace and long run time can go by so briskly.

Jean-Pierre Melville doesn't need a lot of words. Aside from an occasional jazzy score not even a lot of music is required to enhance what is seen on screen - and that's engaging enough if the writer/director succeeds in setting the viewer in the proper mood. Melville's French nouvelle vague re-invention of the gangster genre relies solely on building suspense with following his protagonists around in long takes one after the other, piquing our interest in the characters, their motivations, their goals, and while their backgrounds stay mysterious there's always a surprise in store up ahead. The plot is much more straightforward than in other Melville thrillers like "Le Doulos" or "Bob Le Flambeur", but "Le Cercle Rouge's" big forte is to highlight all the different angles of the four key players: The suave aristocratic jewel thief (Alain Delon), who defines the term "cool", the murderer and escaped ex-convict (Gian Maria Volonté), the former police sharpshooter with an alcohol problem (Yves Montand) and finally the police superintendent (Bourvil in a surprisingly un-comedic role) on the other side of the law. The paths of the criminals cross in order to carry out an elaborate heist, but in fact they are just moving closer together to find themselves in the inevitable red circle, where the fatalistic conclusion awaits.What sets "Un Cercle Rouge" apart from other entries of the genre is that we are engulfed with a uniquely elegant French-American flair that surrounds the Parisian dark alleys, where a perfect crime feels chic - if one can only get away with it. Indeed it is mainly a question of style what keeps us on the edge of our seats, and for those who enjoy the aesthetics of film this cinematic composition as a whole surpasses many of the works of Melville's Hollywood idols he tried to imitate and endow with a French twist. Highly enjoyable!