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Sleepless Night is action and thriller movie which is written and directed by Kenneth Lonergan.
Movie review (Synopsis):
begins with two men in masks stealing a bag of cocaine, then spends most of its running time in a swanky club run by a gangster, Marciano (Serge Riaboukine), who is the rightful owner of that bag of cocaine. Our hero is Vincent (Tomer Sisley), a cop with ambiguous loyalties who must reunite Marciano with his cocaine before he harms Vincent’s adolescent son (Samy Seghir). Vincent’s partner, two internal affairs detectives, and a pair of Turks who are supposed to be buying the coke from Marciano are also involved, with all the major players carefully avoiding or strategically encountering one another during a busy Friday night at the club. Don’t let the simplicity deceive you. What writer/director Frederic Jardin has done, ingeniously, is reduce the adrenaline ride to its most basic elements. Every character has a clear objective; most of these objectives are in opposition to someone else’s objective; and all of these people are dropped into one location to hash it out. There are no explosions or helicopter crashes, no multi-car chases causing millions of dollars in collateral damage, just a winning combination of good old-fashioned fighting, shooting, and outsmarting. John McClane would be proud.
A pair of masked men, Vincent (Tomer Sisley) and Manu (Laurent Stocker), rob a couple of drug dealers and leave the scene with one dead dealer, a knife wound in Vincent’s stomach, and the furious ire of narcotics overlord Marciano (Serge Riabukine). The opening sequence feels familiar, but then it’s quickly revealed that Vincent and Manu are actually cops—corrupt ones, of course—and it’s not long after that plot turn that the former’s teenage son gets kidnapped and sequestered inside a jam-packed, darkly lit nightclub owned by Marciano.
Once Vincent heads into the club, stashes Marciano’s cocaine in the men’s bathroom’s ceiling, and meets with the kingpin to rescue his kid, Sleepless Night flips the script into a single-location adrenaline rush similar to Die Hard; the remainder of the action—comprised of double-crosses, fellow police officers determined to bring Vincent down, fist-fights, and gunfire— takes place inside Marciano’s discotheque, called La Tarmac, and it’s inside the venue’s walls that Jardin’s and co-writer Nicolas Saada’s airtight screenplay really settles into a veracious groove. And, like the aforementioned Die Hard, Sleepless Night greatly benefits from its sympathetic and physically imposing leading man. As Vincent, Sisley gives a real one-two punch of a performance: When it’s necessary for the film’s morally ambiguous hero to garner compassion, Sisley carries the role with emotional heft and a believable gravitas, and when it’s time to whoop some bad guy, and occasionally good guy, ass, he’s no joke.
Jardin wastes no time easing into the action, as the movie opens on police partners Vincent (Sisley) and Manuel (Laurent Stocker) intercepting a cocaine hand-off in what becomes a car chase and bullet-laden struggle. We learn that the cops are planning to keep the stash for themselves, but when mob boss/nightclub owner Marciano (Serge Riaboukine) catches wind of the double-cross, he kidnaps Vincent’s son Thomas (Samy Seghir). The ensuing race against time to rescue his child, which ends up involving other cops from the force (among them the lovely Lizzie Brocheré as Vignali) takes place almost entirely within the bowels of the nightclub.
Sleepless Night is one of those thoroughly satisfying, endlessly entertaining and wholly adrenaline-inducing films that grips on and never lets go. There are echoes of Hitchcock films, The Raid, Die Hard and Drive within its frames (although Jardin would tell you he was primarily influenced by South Korean cinema such as Oldboy), but it does itself justice by proving to be a fully developed standalone piece of cinema. Don’t wait for the remake to put this one on your radar: Jardin’s version of Sleepless Night is the original, and an instant classic.
t’s this sort of scrappy, free-for-all attitude that gives the film a manic urgency along with fight choreography that willfully rejects the glossiness of Hollywood action in favor of a more honest and palpable style of violence where characters flounder and stagger in a way rarely seen in movies. Simply put, the action is visceral and never lets up. And Sisley and his many antagonists handle all this fight work with an incredible aplomb.
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