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partners in crime (associes contre le crime) 2012 (Frot, Dussollier) region free dvd5 french bcbc

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 							Partners In Crime (Associés contre le crime: L'oeuf d'Ambroise) is a 2012 French movie directed by
Pascal Thomas. This is the third time that Catherine Frot and André Dussollier resume the roles of Tommy and Tuppence
with Pascal Thomas to completion, after By The Pricking Of My Thumbs (2005) and Crime Is Our Business (2008). 

Contains movie and Optional English Subtitles. No menus or extras.
Regular DVD quality. Thank you.
 
 


 
 
 
 Synopsis

Prudence and Bélisaire Beresford have decided to take things easy. But when a rich Russian heiress disappears,
Prudence can't resist and Bélisaire is forced onto the adventure. Their investigation will put them on the trail of a
mysterious scientist who holds the secret to eternal youth.
 
 Cast
 André Dussollier,
Catherine Frot, Linh Dan Pham, Nicolas Marié, Agathe de La Boulaye, Éric Naggar, Bernard Verley, Hervé Pierre,
Sarah Biasini, François Bettens 
 
 Partners in Crime (Associes contre le crime): Film Review

8/30/2012 by Jordan Mintzer 
 Catherine Frot and Andre Dussollier star in Pascal Thomas' third Agatha Christie
adaptation 
 PARIS -- Less a whodunit than a whowouldathunkit, Partners in Crime (Associes contre le crime) is
the third, and clearly the nuttiest, adaptation by French director Pascal Thomas (Le Grand appartement) of Agatha
Christie’s eponymous short story collection. Once again starring ace actors Catherine Frot and Andre Dussollier
as the Sherlocking, now semi-retired Beresfords, the film throws any real suspense by the wayside to deliver a slew of
outlandishly surreal set pieces and non sequiturs, as if the great Dame of Mystery were remixed by the likes of Ruiz and
Resnais.
 
 Released locally on August 22, the mid-sized StudioCanal launch performed decently in its first
frame and should continue to score steady numbers before the coming onslaught of fall releases. Overseas play will focus
on Francophonia and French fests, although Thomas’ entertaining and increasingly enigmatic Christie series
deserves its own mini-retrospective in other markets.
 
 The action kicks off with the suave Belisaire
(Dussollier) promoting his brand new autobiography–much to the chagrin of his peppy wife, Prudence (Frot),
who’s been deleted from the Beresfords’ many exploits (“It’s just a marketing
strategy,” Belisaire pleads with her.) But while her hubby has decided to temporarily swap out his magnifying
glass for a paintbrush (in an uncanny scene involving a nude model and a Gustave Courbet look-a-like), Prudence sets up
her own detective agency and embarks on the case of a missing Russian heiress, last seen at an exclusive Swiss
spa-cum-plastic surgery clinic.
 
 That location becomes the centerpiece for much of the ensuing zaniness, as
the Beresfords follow a trail of facelifts, breast implants and sexed-up senior citizens, hoping to unlock the secrets
of a mysterious fountain of youth formula that makes 90-year-olds look like, well, 70-year-olds. Indeed, as Partners in
Crime slips more and more into Inspector Clouseau/Marx Bros. territory—including a sequence where Belisaire gives
Prudence a not-too-tender spanking as a means to jog her memory—it becomes clear that Thomas (along with
co-writers Clemence de Bieville and Nathalie Lafaurie) is offering up a wacked out, slapstick commentary on the
hardships of growing old and staying together.
 
 This all culminates in an extended sight gag that is
hilarious in its utter simplicity, and poignant in the way it wraps up the film’s major theme—much more so
than its plot, which gets lots somewhere in the second act and only resurfaces as a means to prolong the shenanigans.
 
 Following Crime is Our Business and Towards Zero, Dussollier and Frot reteam to form a convincing, fun-loving
pair whose antics are fueled by friendly competition and the love of adventure, not to mention several large servings of
whisky. Tech credits are solid if unexceptional, while Reinhardt Wagner’s score shows hints of Bernard Hermann,
attempting to insert some suspense within a mystery movie that gleefully circumvents the genre’s usual
trappings.
  						

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