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Election success for right-wing extremists sparks riots in the slums of Paris, which in turn prompts a pack of project kids to pull a robbery under cover of chaos. On the run, they head for a motel near the Dutch border, which is where Frontier(s)’ grim urban politicising piles headlong into backwater torture, and the film fades into an echo of other, better genre pictures – most obviously The Texas Chainsaw Massacre, but also recent horrowshows Hostel and The Descent. Seething Nazi resentment provides strained connecting tissue, but Hitman director Xavier Gens enjoys letting blood fly too much for any serious point to stick.

This text originally appeared in Total Film magazine

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