Ketrivie It isn't all that great, actually. Really cheesy and very predicable of how certain scenes are gonna turn play out. However, I guess that's the charm of it all, because I would consider this one of my guilty pleasures.

Melanie Bouvet The movie's not perfect, but it sticks the landing of its message. It was engaging - thrilling at times - and I personally thought it was a great time.

Bessie Smyth Great story, amazing characters, superb action, enthralling cinematography. Yes, this is something I am glad I spent money on.

Scarlet The film never slows down or bores, plunging from one harrowing sequence to the next.

SnoopyStyle Jean leaves the farm and goes to his older brother Georges in Paris but he's away covering the war in Kosovo. Georges's girlfriend Anne Laurent (Juliette Binoche) is an actress. Jean throws a crumpled bag onto Maria (Luminita Gheorghiu)'s lap. She's an illegal immigrant from Romania begging on the street. Amadou (Ona Lu Yenke), an African Muslim decent, takes offense and tries to drag Jean back to apologize. Jean refuses to apologize and a scuffle ensues. The police arrives and arrests Amadou. Maria is deported. There are also scenes of deaf children.There is the one great scene at the beginning of this movie. It is the source of the drama but the rest of the movie feels less compelling. It is simply too subtle. It doesn't follow the group to the police station. Amadou's story takes forever before it gets back to him. The various stories simply meanders to their separate destinations. The movie is like a big explosion that sends separate flames out into space but the flames just slowly goes out rather that setting off new explosions.

bikenavy Upon re-watching it, my reaction was oh...okay, everything makes sense now. Haha. I loved the film and that's why I'm watching it again. What I remembered from the first viewing though was that nothing really makes sense. It was all fragmented but really intense. I didn't understand anything much but I just loved the form, the energy, the direction. Now that I'm seeing it again, everything makes perfect sense. Everything is there. The story is well connected. How did I miss it? Was I too young when I first saw it? Now that I know everything is well connected, the mystery is gone in a way. It's less fascinating in a way. It's like the "code" is not unknown anymore. The key has been unlocked. I'm not sure if it's a good thing or a bad thing. One thing for sure is that the film is definitely not random. But part of me wish that the bewilderment was still there.Still a great film though. Truly inspiration.

johnnyboyz Code Unknown doesn't live up to the promise of its opening scene, an opening scene of which is a spectacularly composed and wonderfully executed continuous take of various people on a Parisian street intermingling, interacting and walking back and forth. People travel from one end of the street to the other, continuing their lives as we leave them and pick up another person walking back the other way; things leading onto other things and a disagreement which turns rather more ugly than anyone would like. The elegance and the effort put into the sequence places us right there on that street with all of those people, and it is a form of deep, unflinching immersement no other trick nor ploy other than and sense of filmmaking will ever produce.One of those persons walking is Jean (Hamidi); a youngster of whom doesn't get on with his father, the other individual at the other end of the street is Anne (Binoche), who's in binary opposition to Jean in terms of gender; age and ethnicity. She appears to be in a rush and is talking busily into a cell phone – something in contrast to Jean's wondering loner, built well and hulking; an early attempt at most probably pointing out how diverse life is and how everyone occupies the same intimate plain, or street, and yet are miles apart in their ability to communicate and interpret, epitomised when squabbling break out following an altercation. Such a hypothesis might very well be at the heart of Michael Haneke's Code Unknown, I'm not sure; that of communication and interpretation and how, in spite of the fact we're all human, just being able to get along is often beyond us. In this piece, Haneke doesn't strike us as a director who uses conventional means of execution to get across a sense of unfolding high-end drama.Take, for instance, the scene within which we are plunged into a couple enjoying time together in a swimming pool within the confines of their apartment's outdoor area – only, they fail to spot their toddler child crawling along the ledge thus staring at a thirty storey drop. After going through the motions, Haneke reveals that they were, in-fact, shooting a film within the film and none of it was real. In a re-dub session some time later, the two actor-characters begin to fall about into fits of laughter due to a joke as the unfolding drama plays out on a screen in-front of them, dominating the frame. It might be read into that this is Haneke's own cackling at what could be perceived as easy-drama and cheaper, easier ways of instilling frills into cinematic viewing; the sort of thins one might attribute to more mainstream, more "Hollywoodised", projects. Amusingly, Haneke uses a frame grab from the aforementioned pool scene for the film's poster in order to advertise his film. Another curious idea Haneke here applies is his cutting off of scenes and sentences half way through finishing; this sense of the never-ending, of the infinite and of the continuously progressive as each story literally happens in tandem feels desperately trying to push its way to the forefront of our attention. While the application of such an idea seems distinctive and creative on paper, it very quickly formulates into something just grating.In Code Unknown, he shoot couples having arguments in supermarkets before rekindling a couple of aisles later. The heated exchange begins to a background of alcohol, an ugly debate made better once they're out and away from the intoxicating products and sharing the company of shelves sporting products of a healthier sort following their arrival at a part of the shop selling diary drinks and shelves containing beverages generally inclined to be good for you. Another strand sees an actress shooting scenes for that aforementioned fake film in which she falls afoul of a serial killer with a very specific modus operandi, that is to say the locking of people in relatively large, but empty, mahogany drenched, centuries old rooms and watching them slowly die. This idea of ugliness, encapsulated by one man's nature, combining with beauty, elegance or high-culture in the form of his chosen locale within which to kill, seems to be a juxtaposition summing up the frantic and disjointed nature of the world and those within it; those of whom are more often than not at complete odds with one another, and yet are thrust into inhabiting this same plain as before.The film will carry along down this path, opening with a telling prelude featuring deaf children attempting to play charades with one another using only sign language – interpretation being the key verb. Here lies an example of people attempting to figure out what it is the other person is thinking; a struggling to comprehend the angle upon which they approach; the trying to see things from their point of view, before carrying on down a route of several strands depicting several sorts of people of varying ages and differing backgrounds. One cannot help but feel one is repeating one's self when one states that certain strands, stories and interactions between those therein are more interesting than others. In spite of being fully aware of the year of Code Unknown's production, the likes of everything made since, from Babel to Betty Fisher & Other Stories to the more recent Swedish film Involuntary, feels both a little bit better than Code Unknown and less top heavy. The more of these sorts of films one sees, the more impacting and more concise one feels their overall thematic needs to be in order for it to actually resonate. There are a number of examples, going back to 1993's Short Cuts, which pull off the gross influx of stories and characters that it decides to take on - this expansive; drawn-out and weighty approach to things working well here and there, but too often dragging Code Unknown down to the level of window dressing.

sansay I am French and I must say this is a rather disappointing movie. It starts well with an interesting event in which 5 persons are involved. Then we follow each of them in their own thread of life, switching from one to the other without any connection. This kind of scheme usually leads to some interesting plot where destinies cross each other. But not there. It just goes nowhere. And then it's real, real slow. I usually am an admirer of movies where you get the time to think, to observe an interesting scene. But not here. In this film many scenes linger on without any reason at all. It feels like we are just put on hold! What a bore.