"I take orders from the Octoboss."

Lost Bullet

LOST BULLET (original title: BALLE PERDUE) is an outstanding 2020 French action movie that’s available on Netflix, and it turns out it’s one of my favorites of last year. It’s a car chase movie and a one-man-on-the-run-trying-to-prove-his-innocence thriller and there’s a little bit of fighting and both the action direction and the storytelling are beautifully clean. It feels raw and grounded, but in a good way, not in that joy-sucking sort of way where realism is more important than entertainment. Man, I loved this one.

It opens with Lino (Alban Lenoir, an actor/writer/action coordinator/second unit director on a show called Hero Corp), a mechanic, preparing a souped up engine on a small car and nervously strapping himself in, steeling himself for a crash. He picks up his Eddie-Furlong-looking little brother Quentin (Rod Paradot, STANDING TALL) and hands him a helmet, and we realize he’s planning to ram through the side of a jewelry store. Quentin tries to talk him out of it, thinking there’s no way they’ll make it through that wall in this little thing. But Quentin has a huge debt of some kind and Lino thinks this is the only way to save his ass.

It turns out Lino pimped that ride so well that it plows right through the wall into the store. And then through the back wall, and another couple walls, and out the back. From one side of the the building to the other, like a tunnel. But the car gets stuck and the cops are coming and he tells Quentin to run.

So Lino is in prison. And these two higher-up type cops come in, Charas (Ramzy Bedia, director/writer/star of HIBOU) and Moss (Pascale Arbillot, MY DOG STUPID). Charas is trying to tell Moss about how this is the guy who got this little car through four walls – he seems to think it’s the greatest thing ever – but she’s not amused. Still, she allows him to recruit Lino to build cars for an elite “go-fast” task force.

He does a good job. We see a little bit of the squad in action, high speed tactical driving in these “go fast” cars with bars on the front for ramming. This fantasy of giving an outlaw car guy the resources and permission to create the badass cars of his dreams is one of many little things that reminds me of 2 FAST 2 FURIOUS and the rest of that series. It’s done in a totally different, more down-to-earth way, but never at the expense of thrills. Crazy shit can happen, but you feel like he’s just barely pulling it off. The cars don’t feel super-powered; more like they’re being pushed to the limit, and liable to fall to pieces at any moment.

To Lino’s surprise, Charas gets him an early release. He’ll have to continue working for the police to get it, but he seems moved. Charas genuinely believes in second chances, and thinks he deserves one. The only catch is an honest one, not a trick: he needs to help go after some guys that his brother Quentin seems to be working for now. But Charas promises not to bust the kid.

Much of the beauty of the movie is the economical storytelling. All of what I’ve described happens early in the movie, quickly skimming over a bunch of time. But you feel a strong bond between the criminal and the cop. Lino is clearly so excited and proud to see the garage full of yellow cars based on his work, and Charas makes a point of keeping it a surprise, to see his reaction.

The hitch is when (SPOILER COMING) they raid an illegal garage and suddenly a member of their own team, Areski (Nicolas Duvauchelle, TROUBLE EVERY DAY, INSIDE), shoots and kills Charas. Man, I liked that guy! The nicest cop ever, so he has to get killed by another cop. And Areski is a good villain because he wears this jacket that might look kind of cool on another guy but because you already hate him you look at his jacket and you think look at this fucking guy with his fucking jacket, fuck this guy.

So, Lino has been set up by cops, and most of the cops who aren’t in on it don’t know enough about his team’s activities to trust him. Lino tries to run, but gets arrested. He asks them to call Julia (Stefi Celma, HAPPY TIMES), the one cop he trusts. Instead Areski comes into the interrogation room, turns off the camera, and basically tells him he’s fucked. He had Charas’ car burned and Lino has his blood on him and no one will believe him.

After he escapes (a little more on that later) he finds out his brother tricked them into burning the wrong car, so it’s a race to find the one with Areski’s bullet in it and get it to the few cops that might believe him before the many cops who don’t believe him catch up with him, or especially before the cops who framed him can kill him. It will of course culminate in a car chase with him driving the fucking crime scene to the police and yes, he is able to do some quickie customization to that thing, with spectacular results.

Now, there’s no information to tell us that Lino is, like, a trained fighter or anything, but he can fight and he is tenacious. His escape from the police station is an A+ sequence that I think will make many happy because of it’s unusual insistence on avoiding the fight movie convention of allowing him to take on each opponent one at a time. Personally I don’t have a problem with that, but I know people like to bring it up, so I’m happy to report how genuinely thrilling and cool it is to see Lino being piled on by four or five cops as he battles through different rooms and halls and just does not give up. There’s alot of punching and bashing and alot of wrestling and lifting people and slamming them into walls and desks and lockers and there’s this fierce woman officer (I couldn’t figure out her name from the credits) who’s light enough that he keeps knocking her off of him and then actually tosses her onto a desk. You feel bad for her!

It’s this intense struggle, this tug of war to pull his body past these people, out of the building, at one point his finger tips literally gripping the stairs to the entrance, trying to pull himself down one step at a time. I didn’t know if there would be fights in this at all, and here is a truly excellent one, so original, and yet so natural as to seem obvious.

(Stunt coordinators: Emmanuel Lanzi [stuntman in BROTHERHOOD OF THE WOLF, KISS OF THE DRAGON, DISTRICT B13, TAKEN] and Jean-Claude Lagniez [car stunt coordinator for THE BOUNCER and 22 BULLETS, stunt driving double for A VIEW TO A KILL, so I bet he drove that half car – something that is arguably referenced here!])

Another piece of this movie’s greatness is how much characterization they get out of simple, non-verbal moments. I feel like we follow the saga of Moss, the one cop who seems like she might figure out that Lino is innocent, mostly through facial expressions. And I love when that female officer I mentioned getting thrown around in the police station fight shows up later, climbing onto a car at a roadblock and taking aim as Lino approaches. We see scabs on her face, are reminded of her getting smacked around, and completely understand why she’s so gung ho. She may have no idea she’s with the bad guys.

And there’s Julia – Lino finds her and tries to tell her what happened. We realize that they’re more than just teammates when he hugs her. That’s also when we learn she knows some jiu jitsu. It’s so exciting when she starts to believe him, helps him, takes a fall for him. And then the most exciting when Moss lets her go and she hops in a car and we remember oh shit, she was on the team too. We know she can drive. It’s on.

This is maybe not crucial information, but I would also like to note that this bad guy muscle character Kad (Judoka and stuntman Arthur Aspaturian) kinda looks like what would happen if technology allowed Daniel Craig to have a child with Vin Diesel.

I’ve already said too much, but I will end with one final SPOILER: Lino is kind of a weathered-looking dude, but not an obvious action hero type. Yet, over the course of this movie, he basically runs a marathon of proving an overwhelming toughness. At the end, obviously, there’s no question about it. And yet it ends with him crying. There’s a beautiful reveal tying the specific context of the crying to the center of the movie’s action, allowing for this lean and speedy, kick ass action movie to counterintuitively end on a moment of effective emotion. And at the same time there’s a wordless exchange between our badass heroes so that we go out on simultaneous grieving and triumph. It’s straight up masterful.

The director is named Guillaume Pierret. He co-wrote it with star Lenoir and Kamel Guemra. This is Pierret’s first feature. Otherwise IMDb only lists one 2012 short and a few episodes of the sketch comedy shows Golden Moustache and Le Golden Show in 2013.

Fred Topel was the first to tell me about LOST BULLET, so thank you, Fred, and everyone else who recommended it after he did. I am excited to pass along their recommendation to anyone else who hasn’t received it. Check it out.

P.S. Here’s the Guillaume Pierret short film Matriarche.

He has some older, lower budget ones on Youtube that aren’t listed on IMDb. Clearly he’s been practicing at this action stuff for a long time.

This entry was posted on Monday, January 11th, 2021 at 12:08 pm and is filed under Action, Reviews. You can follow any responses to this entry through the RSS 2.0 feed. You can skip to the end and leave a response. Pinging is currently not allowed.

21 Responses to “Lost Bullet”

  1. Saw this back when it first came online and really, really liked it. Kinda gave me a similar vibe to MR MAJESTYK, which I just saw recently for the first time – nothing fancy or extraneous, just one beaten-down dude who refuses to give up.

    [mild spoiler] The final chase sequence into town did kind of lose me, seemed a little farfetched that he had customized that car exactly right for the challenges he’d face and also that there would be no way for the cops and bad guys to stop him from making it to the police station… this was where it got a little TRANSPORTER-y to me. (and I say that as someone who really likes some of those!)

    But everything up to that was gold.

    I eagerly went online to see if this crew had made a zillion more movies like this that I hadn’t heard about… sadly, no. More soon please!

  2. Hell yeah! What he said.

    Hands down my favourite online action release of last year, and this review perfectly captures what makes it such a joy. I will now have to rewatch it real soon.

    Without wanting to get spoilery, there’s a clear setup for sequel, so bring on part deux: 2 LOST 2 BULLETS.

  3. I loved this, caught it awhile ago. For years one of my favorite fight scenes was John Rambo’s escape from the Sheriff’s lock-up in FIRST BLOOD. I lost my mind when LOST BULLET took that and dialled it up to an 11. And I liked everything else about this lean, stripped down action movie as well.

    There’s an economy of narrative in European Action Movies which I like. It’s like, if FAST 6 was in French, you’d just have Elena and Letty hug and the looks they exchange would speak of a shared history (we fucked the same guy!) without needing Ludacris and Tyrese ad-libbing in the back “Awkward…But Sexy as Hell!”

  4. Just watched it and you were not kidding. It’s an absolute gem. The plot is a bit silly but the tone, the characters and the action most definitely are not. Loved every minute of it. Highly recommended.

  5. Right on, Vern. I caught this one with a friend over the holidays, almost by accident. We were kind of suspecting a 2Fast4Furiouz rip-off, but as you rightly point out, it’s actually an engaging drama with great characters and imaginative action sequences. A very pleasant surprise, especially as we were expecting next to nothing.

  6. Always been a huge fan of French thrillers. This won’t get a mention along side someone like Olivier Marchal’s work, but I liked it a lot. ROGUE CITY (orig. BRONX), Marchal’s newest, also on flix, is really, really good. Check it out!

    LOST BULLET would be a good companion piece to the similarly themed GO FAST.

  7. I could be wrong, but I don’t remember ever seeing a movie with cars flipping around where they actually put cameras inside the cars that are flipping over. And now I can’t understand why that does not happen in every single action movie.

  8. I haven’t seen the movie so maybe they’re doing something unique here, but I’m pretty sure I’ve seen some version of the “camera in the car as it flips over” shot in pretty much every movie where a car flips over since at least FIGHT CLUB.

  9. I’m sure I probably have seen it a hundred times but obviously none that really stuck with me. It might just be that I have a massive HD TV now so it pops off the screen a bit more.

    You should just watch the whole movie – it’s excellent. But in the video below, which has massive spoilers, you can jump to 1:55 and 2:12 to see what I mean. It’s a cool shot, but it’s always the way that it’s naturally weaved into the scene.

    I had a similar reaction watching RECOIL a few weeks ago where a car flips over but also smashes through a traffic light at the same time. Like, why don’t they do that whenever they flip a car??

    Lost Bullet (2020) | Insane Car Crash Scenes | 1080p

    https://www.facebook.com/RentonUsers/Copyright Disclaimer Under Section 107 of the Copyright Act 1976, allowance is made for "fair use" for purposes such as ...

  10. I’ve been intending to watch it for some time, but it’s hard for me to pull the trigger on streaming stuff. I either watch it the day it drops or I put it off and then forget about it for the next two years.

  11. Watched this today, and thought it was superb – thanks for the recommendation.
    The finale was a bit too silly compared to the rest of the film (it leaned a bit too far into the James Bond style crap that’s put me off the later day fast and furiouses), but it led to some truly great crashes so I’m not going to complain too loudly. What a great film.

  12. LOST BULLET 2 hits Netflix next week!

  13. Whoa! I was a big Lost Bullet supporter and they didn’t even keep Franchise Fred in the loop! Fuckin streaming…

  14. It showed up on my “Worth The Wait” list. Looking forward to it. Loved the first. Fingers crossed they don’t drop the ball on the sequel.

  15. Introduced my dad to this one and then we piled on and watched the sequel. It’s a little bit less of a surprise than LB1 and there’s some lovey-dovey stuff that may be… interesting to discuss, but still a worthy successor. A bit John Wick in how, after Lino’s exploits in the first one, he’s both an in-universe and out- badass, with some great bits where he Batmans through adversity off-screen because he’s just *that* badass.

  16. Wow, LOST BULLET 2 was fucking great. Agree that

    (mild spoiler ahead)

    the “I murdered a bunch of goons in your house – YOU ARE MY WOMAN NOW” stuff didn’t play all that well, but the goon-murdering was amazing. When he slammed one dude’s head on the kitchen island or whatever, I gasped out loud at my laptop. And the car chases, of course, rule. Plus, new characters! When the main Spanish cop finished off one particular fight, I was again kinda stunned by how brutal the movie was willing to get.

  17. Agree! LOST BULLET 2 is pretty damn fucking awesome. The car chases are even more inventive and shot with the type of clarity that generally makes me weep for joy and the fights are ever more pulverizing and brutal, you feel every punch, kick, stab to the abdomen, knee to the groin and head slam to the dashboard. There are STAKES to the fights and conflicts (Hollywood, you wanna take notes?) And they even manage to make a retread of the hero taking on an entire precinct’s worth of cops feel fresh. Yeah agree, that the hero moving in on the bad cop’s wife was a little hard to swallow. At one point I was thinking, does the hero still need to hunt escaped Evil Cop? What better revenge can you get than cucking the bastard?

  18. Okay, finally watched it last night and I am inclined to call it a bit overhyped. I mean, the action was great, even if there was comparibly little in it. And even if the script had not one original thought in it, I do appreciate how solid the movie used all the cliches and tropes. It was good. Can’t really complain about it.

    But what amused me, was how the cast kinda looked like the makers wanted to make it easy for Hollywood to pick actors for the remake, in case they make one. The protagonist gave out a Statham vibe (which was amplified in the German dub, because he had the Stats regular dubbing voice), his mentor kinda looked like Harry Lennix, the ex-girlfriend reminded me of Naomie Harris, the main corrupt cop had a bit of a Ryan Gosling thing going on, etc.

  19. Francophile Franchise Fred

    November 13th, 2022 at 6:00 pm

    Lost Bullet 2 felt a bit like Quantum of Solace to me. It’s not as revelatory as the first but it’s still pretty damn good, and picks up immediately after the first. A little slow getting started but liked all the new mods to the car.

  20. I liked about part 2 that they didn’t fall into the THE RAID/JOHN WICK trap and turned a simple but effective actioner into some overlong and overcomplicated epic. Sure, they added a bunch of new characters plus some extra layers to the corrupt cops plot of part 1, but it’s not like the sequel is 2 1/2 hours long and Lino has to fight a dozen different crime families and high ranking diplomats because we suddenly learn that his father was the head of the syndicate that smuggles drugs across the border or whatever.

  21. Late to the party on this, but this movie whooped ass! Like Vern, one of the things I admired most was the efficient, economical storytelling. I have seen this kind of movie and this kind of plot plenty of times, but it really seems like they trimmed all the fat off this one. It felt like every scene served the plot or the characters. There is not a huge amount of action, but it is well placed and paced throughout and builds to a thrilling climax that seemed to keep escalating (by the point where Lino is literally on fire I was laughing out loud). Lino’s situation always feels as desperate as in that moment where he is clawing his way out of the police station. Crackerjack filmmaking all around, now to watch the sequel!

Leave a Reply

XHTML: You can use: <a href="" title=""> <abbr title=""> <acronym title=""> <b> <blockquote cite=""> <cite> <code> <del datetime=""> <em> <i> <q cite=""> <s> <strike> <strong>