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Audio Format: DD 5.1, DTS 5.1 Video Format: Widescreen 2.35:1 (Anamorphic) Languages: French Subtitles: English, French Region Code: 2, PAL Year Made: 2005 Running Time: 128
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A cavalcade of implausibilities with enough excess atmosphere to repair a hole in the ozone layer, "Empire of the Wolves" is "The Bourne Identity""The Bourne Identity" meets "Seven""Seven" meets "The Silence of..." -- oh, hell, think of a movie and there's probably a snippet of it here. Aggressively moody widescreen transposition of Jean-Christophe Grange's novel is, like his "The Crimson Rivers," a tale in which two seemingly unconnected stories dovetail en route to an overblown finale. Action-centered movies starring Jean RenoJean Reno tend to make money globally and this violent outing will probably follow suit.
 In a steel-gray Paris where it's always raining, Anna (Arly Jover) is losing her memory. Subjected to a radioactive brain scan, she can identify the face of Abe Lincoln but not a photo of her own husband of eight years, Laurent. He and neurologist Dr. Ackerman urge her to have a biopsy, but she resists the idea, picking understanding shrink Mathilde (Laura Morante) out of the phonebook in search of possible solutions to her condition.
Meanwhile, idealistic young cop Capt. Paul Nerteaux (Jocelyn Quivrin) is fishing a third mutilated Turkish woman's body out of the Paris sewers. Auds who like to see as well as hear about horribly mutilated women are amply served.
Paul is forced to enlist the help of Schiffer (Reno), a disgraced cop who patroled Paris' Little Turkey district for 20 years. Nobody on the force cares if a few illegal Turkish seamstresses have been tortured and carved up, but Paul's mom was murdered when he was a boy and since he can't catch her killer, he's determined to catch this one.
Paul's dingy office has one of those movie computers on which a basic Web search always produces the exact tidbit needed to advance the story. He's always followed the book; but gruff Schiffer gets results by poking eyes out and slicing off fingers, explaining "He was a scumbag" to justify his approach.
The initial hypothesis of a serial killer soon morphs into the realization that an extreme right-wing Turkish nationalist group that reveres wolves is involved. When Mathilde takes the increasingly unnerved, quintessentially French Anna to a friendly biologist, he tells her she used to be Turkish. Could there be a connection?
Special Features:
- Audio Commentary by Director and Arly Jover
- Previews
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