Leon

Luc Besson used to write great scripts and turn them into fantastic movies. This was not just an ordinary action thriller but also an exciting drama about a somewhat autistic professional assassin and his prepubescent almost-apprentice. I enjoyed it again, just like I did almost thirty years ago. It was, hands down, Natalie Portman's best role and one of Jean Reno's best roles. Jean Reno was great in the roles of disturbed assassins, just like Gary Oldman was with his psychopaths. Maybe they suited them too much because they both got typecast in them. True, the story wasn't exactly a brain exercise, but without torture, I admit that I didn't care at all because I really enjoyed the central, strongly mismatched duo. There was definitely a certain nostalgia involved. / Lesson learned: Take extra care of your best friend. (17/03/2023)

If I ever wrote a story about a contract killer, I would probably want it to look just like this. Action-packed, gritty, yet still human and highly emotional. Additionally, there are excellent characters that are beautifully brought to life by peculiarities, such as milk or some pills. Luc Besson showed with this why he is such a great filmmaker. It's a shame that he doesn't succeed in fulfilling it anymore today. (26/04/2015)

After several screenings, it is no longer so captivating and action-packed, but rather a cute and touching film that never gets boring. Even with American action, Luc Besson maintains his European style and it is abundantly clear. The action is beautifully shot, incredibly clear, and the camera is unusually detailed. The backbone of the film is, of course, the relationship between the hitman Leon and twelve-year-old Mathilda. The surrounding world with all its elements and features only serves as boundaries through which the writer and director (in one person) navigate. Perhaps for that very reason, Leon is very far from a realistic action film, but it’s one that captures the heart. (27/06/2004)

It's interesting that of the three biggest directorial toys of the 90s, (Besson, Jeunet, Gilliam), each managed to build their own hebephilic magnum opus (The Professional, The City of Lost Children, Tideland), which is quite creepy at certain points, however much the viewer tries to accept the narrative innocence. I'm not saying I'm offended by this, I'm just mentioning for future adventures that this film will one day undergo some clever revision that fans won't like. But The Professional has plenty of other things to admire apart from the main relationship. The first thing you can see in it is Besson's gratitude that he finally made it to the States, and his fascination with the vastness and vibrancy of 90s New York. The battered old flats, the sweaty hotels, the tangle of corridors, subways, and staircases, the wild streets, the clutter, the mobs of people, and the anamorphic lenses of the cameras that capture it all. Even Serra this time seems to have realized he's actually doing the music for a film, and The Professional's "godfather" motif adds an unexpected layer of darkness to this much-stylized film (not least because it keeps bringing the protagonist back to his difficult Italian past). The shot alone when Matilda and Léon go up to the roof of the building above Central Park, the scene opens up into a vast expanse in which we watch that giant city, and dramatic loops swirl in the background. Incidentally, one of the proofs of Besson's early directorial wizardry is that everyone, even those who have just finished watching the film, is convinced that The Professional is an action movie, among other things. Yet it does not contain so much as a single action scene. (18/08/2021)

Leon is one of those movies that is, as they say, “almost perfect". Besson beautifully dissects the relationship between “cleaner" Leon and a young girl, Mathilda, who got caught up in his simple live. He is supported by excellent acting performances from Jean Reno, the awfully cute Natalie Portman and a disgustingly nasty villain, Gary Oldman. An entertaining and sad story about revenge, about life, and about death. (30/11/2006)