• Genre: Drama
  • Release Date: 12/31/1969
  • Running Time: 110 mins
  • Director: Xavier Beauvois
  • Cast: Nathalie Baye, Jalil Lespert, Roschdy Zem, Antoine Chappey, Jacques Perrin
  • Producer:
  • Writer: CĂ©dric Anger, Xavier Beauvois
  • Distributor:
  • Buy Tickets

Box Office

  1. Four Christmases, 31.7 million, 46.7 million
  2. The Dark Knight, 26.1 million, 441.6 million
  3. Bolt, 26.6 million, 66.9 million
  4. Pineapple Express, 23.2 million, 41.3 million
  5. Twilight, 26.4 million, 119.7 million
  6. The Mummy: Tomb of the Dragon Emperor, 16.5 million, 71.0 million
  7. The Sisterhood of the Traveling Pants 2, 10.7 million, 19.6 million
  8. Quantum of Solace, 19.5 million, 142.1 million
  9. Step Brothers, 9.1 million, 81.1 million
  10. Australia, 14.8 million, 20.0 million
  11. Mamma Mia!, 8.2 million, 104.1 million
  12. Madagascar: Escape 2 Africa, 14.5 million, 159.5 million
  13. Journey to the Center of the Earth, 4.9 million, 81.8 million
  14. Transporter 3, 12.3 million, 18.5 million
  15. Role Models, 5.3 million, 57.9 million
  16. Hancock, 3.3 million, 221.7 million
  17. The Boy in the Striped Pajamas, 1.7 million, 5.2 million
  18. WALL-E, 3.1 million, 210.2 million
  19. Milk, 1.4 million, 1.9 million
  20. Swing Vote, 3.1 million, 12.0 million
Movie Title, Weekly Earnings, Total Earnings

Le Petit Lieutenant

Xavier Beauvois's new French policier Le Petit Lieutenant conscientiously eschews virtually everything we've come to expect from the genre: high-concept crimes, formidable villains, bitter Bogartian heroes, action, intricacy, ethical crisis. Beauvois, who co-wrote, seems hellbent on making the most realistic cop film of all time, shruggingly consumed with downtime, small talk, minor incident, and dead ends, and he's succeeded -- the narrative wouldn't have cut it in a Kojak story meeting. Strangely, this workaday glimpse of cop work-life, in which transferred young detective Jalil Lespert joins the Paris crime unit, along with recovering-alcoholic division vet Nathalie Baye, isn't even a character study -- Beauvois's people largely keep to themselves, and drama is fastidiously avoided. Rather, as the small team of cops search for a few Russian emigrés that may or may not have tossed a homeless man into a canal, it's a window on an ordinary experience, without ultra-naturalistic movies' tendency to fetishize detail or poeticize emotions. Tragedy, when it comes, does not involve us -- we're kept at arm's length through to the final retribution, when we assume we have a bead on Baye's mournful frame of mind but actually know very little. That's realism. — Michael Atkinson

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