De Broca’s filmmaking always had a dancer-like exactness—every camera move and cut timed for maximum effect—but his choreography achieves peak awesomeness here. The whole movie just seems to glide. Like all great action filmmakers, he teaches you how to watch his work. Once you’ve seen a few suspenseful sequences, you know that everything in a frame is there for a reason. If puts a window in a shot, something important is about to happen within its borders. If the camera slowly twists from one axis to another, revealing a side of the room you haven’t seen before, watch out. (…) There’s an understatedly lovely sequence of shots about 90 minutes in where Adrien chases a car on foot and keeps chasing it. De Broca cuts to a series of wide shots of the hero running, running, running, through depopulated panoramas, past elegant futurist structures (overpasses, apartment towers, archways). It’s visual poetry of of the most basic sort, and it may evoke a line by Agnes from earlier in the film: « How can you be blasé amid all these wonders? » — Matt Zoller Seitz, 2017.