
Les 11 commandements inédits
2004

2000
Director
Philippe Bérenger
Runtime
80 minutes
Average Rating
No ratings yetSynopsis
One fine day, at about 10 am, in a suburban house, three men, in their thirties are waiting for a fourth buddy. When he arrives, they plan to hold up the local bank where Séverine, their accomplice, is waiting for them. This could well be the beginning of a thrilling crime story, but these tough men, sporting tattoos, are not what they appear. "On fait comme on dit" is a comedy, and these guys could be descendants of the Keystone Cops. They are dreamers not gangsters. So much is riding on this bank heist, the pressure is intense. This tension creates the most diverse and unexpected obstacles for them...
Overall Score
Limited
Category Breakdown
LGBTQ+ Representation
The film lacks evidence of LGBTQ+ characters or non-cisnormative identities. The narrative focuses on a group of male friends, suggesting a conventional social structure.
Gender Representation
The story centers on a male quartet, with Séverine serving as an accomplice. While she is an active participant, primary agency remains concentrated among the male protagonists.
Racial & Ethnic Diversity
The film provides no specific details regarding the racial or ethnic composition of the cast. It appears to reflect a homogeneous suburban environment typical of its era.
Religious & Cultural Diversity
The comedy explores minor criminality and social dysfunction. However, it focuses on individual eccentricity rather than providing a critique of religion or Western institutions.
Disability Representation
There is no evidence regarding the inclusion of characters with physical, sensory, or neurodivergent disabilities within the narrative.
Strengths
Areas for Improvement
AI Analysis
On fait comme on dit is a character-driven comedy that relies on the irony of its protagonists' appearances. While the film successfully subverts the 'tough guy' archetype by presenting gangsters as dreamers, it remains a traditional, male-dominated narrative. The film lacks intersectional depth, focusing almost exclusively on a conventional social unit of men. It does not engage with systemic social critiques or diverse identity markers, functioning instead as a localized genre piece. Ultimately, the work prioritizes comedic tropes over social representation, offering a narrow view of its suburban setting.

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