Scribe's reviews
Media reviews
Fotogramas
The glorious decades of the 50s, 60s, and 70s in which France produced a noir cinema, that had nothing to envy from its American or Japanese cousins will never return. But in the meanwhile, we are thankful for these exercises full of effort and enthusiasm like this film that drinks from the American paranoia in the 70s and from it's French predecessors.
Cinemanía
European, with the nordic noir and the cold touch that David Fincher has given the thriller genre, the plot presents the necessary details to unnerve leaving loose strings like the splendid series Rubicon.
Variety
The cat-and-mouse game becomes increasingly gripping as viewers put the pieces of the puzzle together one step ahead of Duval himself until the corker of an ending
El País
It doesn't manage to preserve for a long time it's game of uncertainties and it its final stretch it finishes by succumbing to certain mechanics of the thriller genre that are more conventional and predictable than what it was hoped for.
The Hollywood Reporter
The script hits all the major beats of The Conversation, The Parallax View and Three Days of the Condor, dishing out a shadowy spy story and withholding tons of information to keep us guessing.
ABC
The best thing about the movie, aside of its shortness is that in every moment it becomes almost impossible to anticipate what is going to happen. The debutant Thomas Kruithof writes and directs a story that sticks out for its originality, besides its models (less and more obvious) from which he has borrowed ideas.
El Periódico
It relies more on the silences, the pauses and repetitions than on the physical actions or violence creating a climate of tension.