The latest French adaptation of Alexandre Dumas‘ classic The Count of Monte Cristo, directed by Alexandre de la Patellière and Matthieu Delaporte, is a cinematic gem that captivates from start to finish. Starring Pierre Niney as Edmond Dantès, the film breathes new life into this timeless tale of betrayal, revenge, and redemption. Bastien Bouillon (The Night of the 12th), Anaïs Demoustier (The Snows of Kilimanjaro, The Beast in the Jungle), and Laurent Lafitte (Elle, Tell No One) round out the cast.

In case you don’t already know the story, Edmond Dantes becomes the target of a sinister plot and is arrested on his wedding day being accused of state treason. After spending 14 years in the island prison of Château d’If, he manages a daring escape. Now rich beyond his dreams, he assumes the identity of the Count of Monte-Cristo and exacts his revenge on the men who betrayed him with the help of his young associates.

Clocking in at almost three hours, the movie’s pacing is superb, never once dragging or feeling overindulgent. It pulled me in and kept me engaged the whole time. Niney surprised me the most in this film, I’ve known him for his nuanced performances but I didn’t think this role was for him. Yet, he didn’t fumble, he truly shines in this movie. His portrayal is multi-faceted, excelling particularly when he steps into the various disguises of the Count, embodying both the charisma and darkness of a man driven by revenge.

The supporting cast is equally compelling. One standout is Anamaria Vartolomei (Happening) as Haydée, despite having limited lines, she commands attention with her presence and skillful delivery and doesn’t rely on her electric beauty to carry her performance. Vassili Schneider as Albert Morcerf was great and skillfully delivered lines that could have been corny. And it’s a delightful surprise to see Julien de Saint Jean as Andrea in the film, whose performance adds another layer of depth to the ensemble, especially for those familiar with his work in Lie with Me (2022) and The Lost Boys (2023).

The production value is nothing short of spectacular. The sets are grand, sumptuous, and evoke the opulence of 19th-century France, immersing the audience in the world of high society intrigue and lavish excess. From the sprawling estates to the shadowy corners of Dantès’ world, the attention to detail elevates the film to a visual feast. It’s paired with a wonderful script that is full of memorable quotes. You guys know I love a good quote.

This adaptation of The Count of Monte Cristo is the second adaptation of a French literary classic by these directors as they also wrote last year’s The Three Musketeer. Here they also strike a perfect balance between honoring the source material – that I haven’t read in a while – and offering something fresh, ensuring its place as one of the best cinematic versions of Dumas’ iconic novel. Whether you’re a fan of the original story or new to its twists and turns, this film is an absolute must-watch.

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