After successfully completing a final assignment relating to the murder of a wealthy businessman embroiled in shady turns, hitman Henry has lost track and he retired to a cabin in the mountains, miles away from the nearest inhabited center.
Ten months have now passed since the aforementioned crime when Henry finds himself rescuing a young woman, was seriously injured following a snowmobile accident.
The man chooses to welcome her to his spare home and heals her deep wounds, but the girl is reluctant to reveal her true identity to him. And in the meantime, a mysterious individual is on his trail.
The big cold
The main character, who has retired after a life of violence and is now confronted with his past, may initially recall the counterpart played by Mads Mikkelsen in the cult Netflix Polar (2019), with also the cold snowy settings as a background to the story.
Even the arrival of an external element, female, seemed to direct the narrative path on similar themes but, after the first half hour, we understand that we are faced with another type of operation.
Operation that ends up taking itself too seriously, mechanically complicating the plot in a series of confusing forcings that take away the verisimilitude not only from the story, but also from the characterization of the protagonists, caged in a scheme of revenge and redemption simply unlikely.
The dialogues are even worse if possible, with quotes thrown here and there to series acclaimed like True Detective or the world of streaming in general, and they seem the result of an improvisation designed to fill the empty content of what happens on stage, between flashbacks that are not cohesive in the editing and a depressing inaction of the desired action dynamics.
tell me who you are
Available in the Amazon Prime Video catalog, Cold Blood - Without Peace marks the debut of screenwriter Frédéric Petitjean - author, among others, of the script of the survival-drama In solitario (2013) - which is still too immature here in managing a feature film in its complexity.
The "twist" relating to the girl's identity is easily predictable and not even after the revelation the director manages to build a credible tension fabric, opting for a very obvious and involuntarily ridiculous ending.
The fascinating landscape context, removed a couple of sequences in the initial phases, is exploited in an immature way and the management of the secondary figures does not add bite to the flat and monotonous narration, thanks to a cast not very inspired and in ball.
The same Jean Reno, who fit perfectly on paper for the archetype of the tormented hitman, it is less convincing than usual and the free references to a key text of military strategy such as The art of war by Sun Tzu further emphasize that pretentious flavor that permeates the ninety minutes of viewing.