Subpar Chabrol, a further cure for the mindless habit of affixing to his work the label of "a Chabrol thriller," let alone "a Hitchcockian thriller." Despite its origins (same as those of his La Cérémonie) in the oeuvre of the incomparable Ruth Rendell, it little resembles a thriller of any type until its last half-hour, and delivers no measurable thrills even then, particularly not in the abrupt and out-of-the-blue climax. The romantic relationship of an oddish young couple (the crinkled-browed Benoît Magimel, the marmoreal Laura Smet), each of them independently odd, is not without psychological interest. It's simply without thrills, psychological or otherwise. (2005) — Duncan Shepherd
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