Bank-robber Franck Adrien is serving a prison sentence after robbing a national bank. Before he was caught he managed to hide the money but now it's not just the police who are looking for the money. His cell-mate is Jean-Louis Maurel, an alleged rapist/child molester who claims his innocence. When the court finds Maurel not guilty, Maurel promises to look after Franck's family when he gets out. But one day, a man called Manuel Carrega tells Franck that Maurel is a suspected serial killer and that Franck's family is in danger. Franck escapes from prison and police officer Claire Linné and her team take up the chase.
THE PREY is yet another example of the riveting action thriller that the French have been putting out lately. The originator of the genre was Fred Cavaye&#39;s ANYTHING FOR HER, which really picked up in terms of intensity in the second half, while the recent likes of SLEEPLESS NIGHT, POINT BLANK, and MEA CULPA have shown that the French are head and shoulders above British or American attempts at the genre.<br/><br/>Like those movies, THE PREY has a lean, pared-down plot which is basically a chase thriller. I won&#39;t spoil the storyline too much, suffice to say that the protagonist is a petty criminal who must escape from jail to go after an even greater foe. The narrative is chock-full of stunt sequences, intense and suspenseful chase moments, and even some brutal fight scenes which really propel things along.<br/><br/>Albert Dupontel is really great as the put-upon lead but Alice Taglioni and Sergi Lopez are also particularly good among a solid supporting cast. The best things about the film are the direction and the cinematography which combine to deliver a realistic and gritty thriller and one that the viewer can thoroughly get caught up in. An eye-popping prison fight is the highlight here. The ending is a little lacklustre, but it&#39;s no matter when the rest of the film has been so fantastically engrossing.
This is a first rate example of what we may call the Olivier Marshal school of French film making, all the more effective because the cast, whilst well known in France are not exactly &#39;names&#39; and are virtually unknown outside France other than to French film buffs. Six years ago Albert Dupontel was playing a concert pianist in Danielle Thompson&#39;s superb Fauteuils d&#39;Orchestre, now he is a convicted bank robber turned hunter who is himself being hunted by a crack - or maybe not since he keeps eluding them - police team led by Alice Taglioni, more at home in romantic comedy (La Doublure) than thrillers but like Marina Fois before her she makes the transition smoothly and painlessly. The corruption among prison officers is virtually thrown away and so matter of fact that we can only assume it is widely accepted in France but the real virtue of the film is the pace which never lets up possibly because if it did we might actually question the seeming invincibility of Dupontel. In the last few years both Olivier Marshal (36, Quai des Orfevres) and Guillaume Canet (Ne le dis personne) have both turned out first-rate thrillers very similar to Le Proie and slightly superior but in both cases they have had the benefit of large budgets and heavy-hitters in the casts but pound-for-pound Le Proie can stand beside either. Excellent.
Okay, The Prey is ridiculous hokum that proves the French can make overwrought Hollywood thrillers with the same indefatigable energy and implausible realism as anyone else. It is also a slick, suspenseful adrenalin rush disguised as unexpected, nerve-wracking fun.

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