Eric Prat Movies

OSS 117: Cairo -- Nest of Spies constitutes the eighth installment in a long-running series of movies about OSS 117 (the government code name for Hubert Bonisseur de la Bath) -- a French super-spy and European equivalent of James Bond. The creation of author Jean Bruce, OSS eventually starred in over 265 novels and seven cinematizations through 1970. The first seven film outings were sober and straight-faced; the eighth go-round (the first after a 38-year lapse) does a 180 to shamelessly poke fun of the rules established by the genre. A glib yet intelligent spoof, it joins the ranks of Our Man Flint (1965), Aghaye Hallou (1970), Mad Mission 3: Our Man from Bond Street (1984), and other international pictures that glibly satirize the subgenre made infamous to Americans by Bond; like Mad Mission 3, it even packs in an OSS 117 (Jean Dujardin) with a startling resemblance to Sean Connery. The film's comic conceit involves making OSS 117 arrogant, conceited, culturally insensitive, chauvinistic, and thoroughly moronic (he pretends that various cultural institutions and religious practices, for instance, are nonexistent if he is unfamiliar with them); yet the character somehow manages to slide through outrageously dangerous situations unscathed, time and again. The teaser prologue finds OSS 117 in Berlin, where he outwits the Nazis by stealing vital documents from them, hijacks an Axis plane in mid-nosedive, and saves himself and the craft at the last yawning moment. Ten years later, he journeys from Rome to Cairo, where he investigates the death of a fellow agent, posing as the proprietor of a chicken farm. His "side" activities during this jaunt involve hammering out a peace arrangement for the Middle East, keeping tabs on the Suez Canal, and monitoring the Russians. Jean-François Halin scripted the film, maintaining an utterly deadpan tone throughout; Michel Hazanavicius directed. ~ Nathan Southern, All Movie Guide

French legend has it that a creature known as the Beast of Gevaudan -- a huge, wolf-like monster -- was responsible for the violent deaths of over 100 persons in the mid-18th century, and this horror fantasy blends the lore of this fabled beast with a story of two men who set out to capture it. After a number of mutilated corpses begin appearing across the French countryside, naturalist Chevalier Gregoire de Fronsac (Samuel Le Bihan) is dispatched by the King to find and capture the animal responsible for the killings. Mani (Mark Dacascos), an Indian from Canada and an experienced hand in the wilds, is hired to assist de Fronsac in his work. Gregoire's assignment earns him the acquaintance of Marianne de Morangias (Emilie Dequenne), the lovely daughter of the idly wealthy Count de Morangias (Jean Yanne), but Gregoire receives a much chillier welcome from her brother Jean-Francois (Vincent Cassel), who, despite having lost an arm to a lion in Africa, is quite the huntsman himself. As Gregoire and Mani arrive in the village of Gevaudan, they're drawn to a local house of prostitution, where the animalistic allure and supernatural powers of Sylvia (Monica Bellucci) prove to have a profound effect on the naive Gregoire. Jim Henson's Creature Shop provided the special-effects expertise for the creation of the Beast of Gevaudan. ~ Mark Deming, All Movie Guide

Part police thriller and part exploration of the dark side of men's attitudes about women, Hygiene de l'assassin concerns a young female journalist, Nina (Barbara Schulz). Nina has scored a plumb assignment, an interview with Tach (Jean Yanne), a well-known but reculsive novelist who rarely speaks to the press. After he passes along his less-than-charitable views about women (including the belief they should be killed in childhood, before they start to menstruate), Nina concludes the interview, but soon finds herself interrogated by police when Tach is found dead and she is the key suspect. First-time director Francois Ruggieri personally picked Amelie Nothomb's novel for his debut feature, going so far as to buy the rights himself to retain control of the project. ~ Mark Deming, All Movie Guide

The serpentine plotline of Luc Besson's La Femme Nikita begins its 117-minute slither when punkish, psychotic, and drug-ridden Nikita (Anne Parillaud) fires her gun into a cop's face following the stick-up of a drug store, and is promptly imprisoned. She is thrown into a dank cell, then injected with a substance and told it is a lethal toxin. Instead of dying, however, the comes to in an all-white interrogation room, where French intelligence officer Bob (Tchéky Karyo), informs her that an alternate to execution exists: she can receive covert government training as an assassin. She accepts the bid, is rigorously trained, and later returns to society as a seemingly normal and gentle civilian, but falls in love with a drugstore employee while she's waiting for that first government assignment. The paradoxical concept of a young woman blossoming socially while carrying out cold-blooded murders was downplayed when La Femme Nikita was remade in America as the silly and disappointing Point of No Return, directed by John Badham with Bridget Fonda in the lead. A far less sociopathic TV-series version of La Femme Nikita surfaced on the USA cable network in early 1997. ~ Hal Erickson, All Movie Guide

A made-for-TV miniseries set during World War II, Monte Carlo features a Russian singer (Joan Collins) who works in the French city. She moonlights, however, as an Allied spy to retaliate against the Nazis who murdered her husband. ~ John Bush, All Movie Guide