Wow, this is a REALLY bad movie!

A story that's too fascinating to pass by...

This is one of the best movies I’ve seen in a very long time. You have to go and see this on the big screen.

By the time the dramatic fireworks start popping off, each one feels earned.

A good movie for me is one that you can not stop watching, you do not want it to end, you experience the transmitted emotions and you remember the movie several times. This movie contains all that. He captivated me. And "With or Without You", which was already marvelous, became spectacular. Every time I hear this song I remember the film.Highly recommend. Even if you are not one of the best experiences watching movies, as it was for me, at least the movie manages to keep the curiosity and emotion to its end.

The plot concerns Dr. Alexandre Beck (Francois Cluzet) a pediatrician who tries to put his life back together after the brutal murder of his wife (Marie-Josee Cruze). Led to believe his wife may still be alive, Beck is chased by the police who suspect him of a string of recent murders and a mysterious group of henchmen who are framing him.I hate trying to review titles like Tell No One. The strength of the movie is dependent on the twists and turns the plot makes yet its impossible to discuss them without ruining the movie for parties interested. I can throw adjectives like intricate, labyrinthine and byzantine at you but you really can't appreciate them without sitting down and watching the movie yourself. So what is a guy to do but discuss non-story elements.The acting is topnotch; all the secondary players are convincing in their roles and Francois Cluzet does a fine job displaying competence and bewilderment in equal measure. I personally think he looks a bit like Dustin Hoffman so during a lot of the chase sequences I was reminded of Marathon Man (1976) in a good way.For those of you who care, there's a fair amount of nudity which is stereotypical of modern French cinema. Its not entirely done for sexual thrills but its there in a matter-of-fact kind of way which is kind of refreshing. In American films there usually has to be a reason central to the plot for someone to be naked. Failing that, if its female nudity they're seen more as a symbol than an actual person. Male nudity...its an R-rated joke. French films however see nudity as a natural extension of the character's body not to be sensationalized or glorified. Its just there.But I'm getting off point. The truth is Tell No One, to me, was entertaining, well made and an effective thriller in the form of Alfred Hitchcock. Do the plot twists eventually convince the movie's audience? Well like most things that happen in the movie industry, that's largely dependent on you the viewer.

Visually this film is a delight, the set pieces are marvellously realistic, and the cinematography manages to be both unobtrusive and impressive. The editing is tight, or as tight as the script will allow, and every opportunity has been taken to lend visual interest and substance to scenes that would otherwise be bland. The actors work hard to inject life into underdeveloped characters, but they are given little opportunity by the script to rise above the formulaic. Tight editing and fluid direction keep the ball rolling although we are as much in the dark as to what is going on as is Beck, the paediatrician hero. Eight years ago Beck survived an attack in which his wife was killed, or so he thought, but now he is receiving emails from her, and other peculiar things are happening. He, and we, would like to know what is going on. We do find out, in the end. But it is as if the writers were so carried away writing action that they forgot that there has to be a story, and that the story has to have a back-story, there has to be a scenario under which all this frenetic and random seeming activity can be seen as serving some dramatic and structural purpose. So they tacked on a lengthy, tedious, and confusing sequence of intercut scenes in which All Is Revealed. Now we know Who, and How, but Why is never convincingly conveyed. Beck is well portrayed by François Cluzet, and Kristin Scott Thomas gives the secondary character of his lawyer the kind of dimensionality that a lead role would warrant. Most of the characters are not really that interesting, and the only one who is becomes collateral damage, to no great dramatic purpose, as an obvious plot mechanism. For this viewer, at least, the film began to go downhill from this point, I no longer cared all that much about the outcome. I made two guesses as to what lay behind the mystery, both wrong. What emerges is in the event, not trivial, but banal. There are holes in the plot, but those I can work with. What in the end I came away with was a sense of hollowness, of waste. The film left me depressed, and I had bad dreams that night. A lot of people will like this film. There is a lot to admire about that way it was made. I just wish they had used a better, properly developed script.

It's curious to see and hear Kristin Scott Thomas comfortably speaking perfect French. If I remember nothing else of this movie, I'll remember that. Oh, and the fact that yet another French movie has cast as its star a man with a plain, ordinary face, François Cluzet, instead of a glamor boy. I love it.It's a kind of murder mystery, in which Cluzet's wife was murdered years ago and he suddenly begins getting email hints from her. And then, man, does the plot get complicated.The film was so highly rated here at IMDb.com that I don't know why I didn't enjoy it much. Too many twists in the plot. I couldn't keep up with the conversational exchanges on the screen -- Parisians speak too quickly and there are too many idiomatic expressions -- and the subtitles came and went before I finished reading them. It was all not only confusing but rather humiliating.The various threads were finally pulled together at the very end, like an Agatha Christie mystery.But I have to mention Jean Rochefort as the bad guy. What a splendid face. The features of some pointy-nosed rodent but with sad and sympathetic eyes.