If this seems vaguely familiar, bear in mind that Gérard Brach also co-scripted Polanski's Cul-de-Sac, and there's a distinct feeling of early drafts resurrected and rejigged, as another American gangster in Europe, wounded and on the run, erupts into another strange household by the sea. What's lacking here is the sexual tension, the equivocal power games, the humour and the cinematic flair. In other words, Polanski is what's lacking. Instead, we have the distinctly under-matched Keitel befriending a blind old actor (Robin), seeing off the actor's creepy nephew (Anconina) and getting the nephew's girlfriend (Frot) fatally plugged by a couple of ludicrous hit men. Keitel's franglais and Alekan's lighting are the most salvageable aspects.