After a shaky first heist, a group of thieves plan an even more elaborate and risky second heist.After a shaky first heist, a group of thieves plan an even more elaborate and risky second heist.After a shaky first heist, a group of thieves plan an even more elaborate and risky second heist.
- Awards
- 1 nomination
- Director
- Writer
- All cast & crew
- Production, box office & more at IMDbPro
Storyline
Did you know
- TriviaWhen planning the train robbery they calculate a time frame of 20 minutes. When the robbery actually takes place, the sequence is exactly 20 minutes long.
- GoofsA tag is visible on Coleman's black tie when he exits the private room at the club with Cathy and Simon. The tag is not there when he enters the room.
- Quotes
Commissaire Edouard Coleman: The only feelings mankind has ever inspired in policemen are those of indifference and derision.
- ConnectionsFeatured in Sous le nom de Melville (2008)
- SoundtracksC'est ainsi que les Choses Arrivent
Music by Michel Colombier
Lyrics by Charles Aznavour
Performed by Isabelle Aubret
Featured review
Flowing in a steady and unflagging hypnosis
This is a film so good, in how it understands the minutiae of film, the mechanics as it were, and done with so much straight-forward conviction that it amazes deeply.
It is lean, the form refined, like a piece of wood patiently chiseled by the ebbs.
So as with previous Melville films, it is distant, surely cold, clinical business. It's about characters detached from the world they experience, content to glide through without attachments. A world as grey, dreary and sullen as the faces of the characters, one reflected in the other. The pace is minimalist and monotonous, the movie plodding along in a steady and unflagging hypnosis as if it does not progress at all.
It seems to hang suspended in the middle distance, the plot laconic in what it reveals as much as the dialogue, yet it flows towards its inevitable and cold end in an unnoticeable succession of undeviating changes. A phone-call, a newspaper clipping, a man setting down to eat in a restaurant. Before you know it a man is getting shot.
It's part slow erotic foreplay about cinematic crime, remember the scene with Deneuve and the gun, and part a feel that is the present moment unfettered by any including cinematic baggage. You just watch.
It is lean, the form refined, like a piece of wood patiently chiseled by the ebbs.
So as with previous Melville films, it is distant, surely cold, clinical business. It's about characters detached from the world they experience, content to glide through without attachments. A world as grey, dreary and sullen as the faces of the characters, one reflected in the other. The pace is minimalist and monotonous, the movie plodding along in a steady and unflagging hypnosis as if it does not progress at all.
It seems to hang suspended in the middle distance, the plot laconic in what it reveals as much as the dialogue, yet it flows towards its inevitable and cold end in an unnoticeable succession of undeviating changes. A phone-call, a newspaper clipping, a man setting down to eat in a restaurant. Before you know it a man is getting shot.
It's part slow erotic foreplay about cinematic crime, remember the scene with Deneuve and the gun, and part a feel that is the present moment unfettered by any including cinematic baggage. You just watch.
helpful•195
- chaos-rampant
- Nov 1, 2008
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Details
- Release date
- Countries of origin
- Language
- Also known as
- Dirty Money
- Filming locations
- Saint-Jean-de-Monts, Vendée, France(bank robbery at the beginning)
- Production companies
- See more company credits at IMDbPro
Box office
- Gross US & Canada
- $48,040
- Opening weekend US & Canada
- $10,342
- Apr 21, 2013
- Gross worldwide
- $48,040
- Runtime1 hour 38 minutes
- Sound mix
- Aspect ratio
- 1.66 : 1
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