Case 137 (2025)

Lodge finds the film gripping, intelligent, and sharply critical of institutional police misconduct. He particularly praises Léa Drucker’s complex, quietly compelling performance as an investigator confronting a system that obstructs justice.

Mintzer finds the film a gripping, provocative examination of policing, though its tension sometimes dissipates. He especially praises Léa Drucker’s performance and the carefully staged metro sequence.

The review calls the film a lean, riveting police drama about justice and bias. It singles out Léa Drucker’s performance as superb.

The review finds the procedural solid but ambling, with limited vitality. It praises Léa Drucker’s performance and singles out Guslagie Malanda’s simmering screen presence as a contrast to the film’s thinner scenes.

The review presents the film as a controlled procedural, with Lea Drucker anchoring it. It singles out Drucker’s performance as the film’s strength.

Bradshaw finds the film serious and valuable, though somewhat programmatic and ultimately less challenging than it might be. He especially praises its painstaking, forensic account of tracing the police officers through CCTV footage.

Jenkins finds the procedural engrossing but not especially transformative, with its later moral debate feeling more conventional. He praises the first half’s close attention to the investigation’s details and tools.

Lazic finds the film’s restrained procedural style ultimately delivers a satisfying critique of systemic police violence. She especially praises Moll’s skillful use of genre storytelling to reveal a larger political target.

Gorber gives the film a strong endorsement, calling it a contemporary classic of French police drama. He especially praises Léa Drucker’s performance and the film’s subtle, documentary-like approach to police work.

Dunn gives the film a gripping, clear-eyed verdict, while warning that it offers no easy moment of justice. He praises Moll’s ability to make routine investigative work tense through sharp editing, flinty dialogue and varied footage.

Bunbury finds the sober procedural gripping and purposeful, though its slow march toward a deflating finish weakens the impact. She especially praises Léa Drucker’s compelling performance, balancing frosty authority with glimpses of vulnerability.

Mowe finds the film absorbing, though its detailed procedural approach sometimes threatens to bog down. He singles out Léa Drucker’s mesmerising performance as what papers over the cracks.

The critic finds the film competent but ultimately inessential. They praise its supporting characters for bringing broader questions of race, class, and public response into the procedural.