Vincent can be a well-respected cop, as well as a devoted husband and father. But below the surface of his idyllic life, Vincent is involved having a very dangerous group associated with gangsters and drug traders. When Vincent and his partner are caught stealing a tremendous quantity of cocaine coming from a powerful drug lord, the darker side involving Vincent's life threatens to help destroy his family in addition to career. In a race from the clock, Vincent must return the drugs to avoid wasting his son's life.
Jardin wastes no time easing in the action, as the movie clears on police partners Vincent (Sisley) and Manuel (Laurent Stocker) intercepting some sort of cocaine hand-off in what becomes a vehicle chase and bullet-laden challenge. We learn that the cops are planning to keep the stash regarding themselves, but when mob boss/nightclub manager Marciano (Serge Riaboukine) catches wind on the double-cross, he kidnaps Vincent's kid Thomas (Samy Seghir). The ensuing race against time for you to rescue his child, which ends up involving other cops from your force (among these the lovely Lizzie Brocher? as Vignali) occurs almost entirely within the bowels with the nightclub.
A single-location film is really a feat unto itself, but Jardin makes two incredibly smart decisions: First, he treats the location like a character, introducing us to it is various components – back rooms, kitchens, walk-in freezers, overhead crawl spaces, bathrooms, pool halls, dance floors – and builds on their importance, eventually involving them within the action. Second, he utilizes a shrill report, the duality of blown-out and also shadowed lighting, handheld camera techniques and very cramped set pieces for you to mount the building tension with a sense of disquieting claustrophobia. The director was and so intent on authenticity when it located a feeling of suffocation he refused to open upward walls or build special set pieces to the camera to fit in to; every location is actual, and every shot is scheduled up within it. No Hollywood tricks are applied here, and it makes all of the difference.
In addition to Jardin's deft perform behind the camera, Sisley's devotion to his role – both the emotional and physical progress of his character – will be palpable. Whether he's breaking down within a stairwell, beating a man within a back room or driving during a high-speed chase, Sisley is giving 110 pct. Plus, he does his own choreography and stunts. Watch your backs, Bruce Willis, Tom Cruise, Matt Damon, Denzel Washington, Daniel Craig and Co. – this guy will be the truth, and he's nipping at the heels.
Sleepless Night is one particular thoroughly satisfying, endlessly entertaining and totally adrenaline-inducing films that grips on and don't lets go. There are echoes involving Hitchcock films, The Raid, Die Hard and Drive within its frames (although Jardin would inform you he was primarily swayed by South Korean cinema like Oldboy), but it does themselves justice by proving as a fully developed standalone bit of cinema. Don't wait for the remake that will put this one on ones radar: Jardin's version of Sleepless Night will be the original, and an instant typical.
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