Though it almost abstracts into precipitate, LET THE CORPSES TAN is also very much about being an assemblage of component parts. Actually: literally wants you to know that it is like a watch. It's also like a hole in space-time. Also like neurological trauma. It is also a totally genius riff on the übernihilistic bare-bones crime fiction of Jean-Patrick Manchette & co. Discount it and you are getting in yr own way.
I can see the directors' genre-revisionism at work but they get lost in this dull scenario. Some stunning images / edits but they're scattered. The disruptive chronology felt precious and grafted on and thus severely hurt the film. Not to mention that the film was largely devoted to the wrong characters - the women were more electric in their limited screen time than all of the men (maybe minus Rhino) combined.
Entre le giallo besogneux et le saumâtre western spaghetti, du clinquant de série Z et de l'esbroufe bon marché gonflés en outrance et prétention, un conglomérat d'images risibles et quelconques, d'interminables fusillades répétitives, le tout ponctué par un continuel et stupide affichage métronomique censé donner un semblant d'intensité au déroulement d'une histoire pesante et vaseuse. www.cinefiches.com
TIFF17. HC/BF get better with each new film. Takes its cue ostensibly from Italian westerns but actually operates in the register of the canonical crime films of Duvivier, Clouzot, and Melville (this is by far the rawest and most violent film they've made to date). As with their previous films, the sex-violence dynamic roasts just under the surface and emerges in painterly digressions. Solid genre cinema, delivers.