Featured Audience Ratings

• Lewis C

  
  A good French heist thriller from the 70's that's a slow-burn, but delivers in spades when it comes to tension and atmosphere. A daring jewelry theft is the highlight of the movie, and kept me on the edge of my seat.

• Tim S

  
  Jean-Pierre Melville's masterpiece Le Cercle Rouge (The Red Circle) is a police procedural meets heist film that seems to be almost a playbook for all films like it that came afterwards. Whether it was a consious effort on other filmmaker's parts or developed along the lines… More
  Jean-Pierre Melville's masterpiece Le Cercle Rouge (The Red Circle) is a police procedural meets heist film that seems to be almost a playbook for all films like it that came afterwards. Whether it was a consious effort on other filmmaker's parts or developed along the lines by serendipity, the caper film was forever-influenced by the likes of people like Brian De Palma. To boot, there are masterful performances from both Alain Delon and Gian Maria, two men whose characters are brought together by circumstance but develop an unspoken friendship throughout the film that pays off beautifully in the end. Although the overall pace at times is a little lax, the film itself, in style, performance and execution, is a terrific piece of cinema.

• Tsubaki S

  
  The jewelry store scene alone is worth the four stars.

• Ken S

  
  This movie makes the Fonz look like Peter Parker. Nothing is cooler than a Melville/Delon pairing.

• Reid V

  
  In my opinion, Melville's best work. How he manages to blend the grittiness of the American heist film with the sexiness of the French New Wave is beyond me. All I do know, is that it is hard not to be enthralled by this film.

• Emil K

  
  Cool, smooth and laidback. Jean-Pierre Melville's crime-films has always had these elements in them and you could say that they are also the trademarks of him also. His films are not about dialogue or not about big and broad emotions. They are silent studies of men who live by… More
  Cool, smooth and laidback. Jean-Pierre Melville's crime-films has always had these elements in them and you could say that they are also the trademarks of him also. His films are not about dialogue or not about big and broad emotions. They are silent studies of men who live by the code and die by the code. Le Cercle Rouge along with Le Samurai, is in a way the ultimate film about this theme. If you like your crime-films dark and pessimistic then Melville might be your cup of coffee, but for me his style has always been a bit too distant and even cold. Characters in his films just don't feel like real humans, they are more like puppets who are repeating the lines from the screenplay.

• Bannan i

  
  Crime noir at its finest, with dark and grim cinematography and a story that will have you hanging onto the edge of your seat. This just proves that you really don't need that much of a dialouge to keep the story going and to keep the attention of your audience. Some of the best… More
  Crime noir at its finest, with dark and grim cinematography and a story that will have you hanging onto the edge of your seat. This just proves that you really don't need that much of a dialouge to keep the story going and to keep the attention of your audience. Some of the best acting I've seen in a long, long time. Melville, I must see more of your work! Another reason why european cinema is a continued favourite of mine. :D

• danny d

  
  melville and delon come together again for a gripping tale of intrigue. one of melvilles best films, this story grabbed me from the first moment as we see the stories of two criminals side by side until a fateful moment when their paths collide in the red circle. the heist scene is… More
  melville and delon come together again for a gripping tale of intrigue. one of melvilles best films, this story grabbed me from the first moment as we see the stories of two criminals side by side until a fateful moment when their paths collide in the red circle. the heist scene is paced for real time and is executed brilliantly, the side stories involving the mob are interesting and placed well into the story, and the cat and mouse between the theives and the police is mapped out perfectly. the absense of music through most of the film created a reality that set in, and the camera shot and angle choices specifically stood out. brilliant film.

• Eric B

  
  A marvelous caper film which is long but never *seems* long. Add a bonus point for the alcoholic-hallucination scene...a delightfully perverse indulgence.

• Alec B

  
  No one could accuse Melville of not taking his time . . . the film is admittedly slow (it takes an hour just to get the main plot rolling) but its an effective way to tell the story because it makes the few moments of action feel unpredictable and its refreshing to see a movie… More
  No one could accuse Melville of not taking his time . . . the film is admittedly slow (it takes an hour just to get the main plot rolling) but its an effective way to tell the story because it makes the few moments of action feel unpredictable and its refreshing to see a movie constructed this way.

• Hal M

  
  An usually realistic heist film. Studied in its avoidance of sentimentality. Yet I still believe Melville should have made use of music to heighten the tension.

• Chris B

  
  I have to say that I really haven't seen a gangster film at all like this. Don't get me wrong, I have seen many many films from American to Japanese Yakuza films but none with the style and suspense as Le Cercle Rouge! The lack of music throughout really makes you feel… More
  I have to say that I really haven't seen a gangster film at all like this. Don't get me wrong, I have seen many many films from American to Japanese Yakuza films but none with the style and suspense as Le Cercle Rouge! The lack of music throughout really makes you feel there with the three men and their trials, especially during the heist and ensuing chaos. The acting and direction is incredible fine tuned and showcases the detail that went into the screenplay and direction. The film bleeds style both figuratively and literally! Highly Recommended for anyone into gangster films, noir films, or anyone simply looking for a great suspenseful film!

• Lauren D

  
  After watching Le Samourai about a week before this, I thought 'I wanna see more of this Alain Delon guy'. And this movie sparked the start of my obsession. It started off really good. Then it got iffy for a while, and then there was that awesome heist scene. So, so… More
  After watching Le Samourai about a week before this, I thought 'I wanna see more of this Alain Delon guy'. And this movie sparked the start of my obsession. It started off really good. Then it got iffy for a while, and then there was that awesome heist scene. So, so awesome. That is how all heists scenes should be.

• MJS M

  
  I?m beginning to think that Jean-Pierre Melville should have been working a few decades before he did, his movies just yearn to have been made in black and white instead of color. This feels very much like a companion piece to Le Samuraï, both start with textual references to eastern… More
  I?m beginning to think that Jean-Pierre Melville should have been working a few decades before he did, his movies just yearn to have been made in black and white instead of color. This feels very much like a companion piece to Le Samuraï, both start with textual references to eastern culture and both feature gangsters who hang out in sleazy cabaret clubs. The difference is that the previous film was a hitman movie, while this is more of the heist genre. What I like about it is that there?s no real planning stage for the heist onscreen, they clearly scope out the target and prepare, but the audience isn?t privy to their full plan until they start to hatch it.

• Sean L

  
  The French rock at the classic heist movies. I'm not sure I liked it as much as Rififi, just because the heist itself isn't all that interesting to me. That said, its still a blast to watch. 2 1/2 hours and never boring.

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