Tattoo (2002)What a crazy movie, the movie start of with a lady who is naked walking in the rain, her back as just been skinned off, then she gets hit by a bus that crash and blows up.Then police are investigation that body at morgue and find out that there finger in side her, she as bit of the attack sh-allowed!That was just first 4 minutes of the movie , the action packed for the first hour so, fast moving, it gets little slower just after hour into movie but it dose not last long, as pick up speed again for last 20 minutes.I did not get the ending at all, I wish it was bit was clear.Really good movie and great acting in the movie.7 out of 10

This is well worth the mere 1hr 40 minutes it takes to watch.Beautifully, beautifully shot with some inspired mise en scene it has a solid plot and a good twist. With many a scene I found myself on the edge of my seat...it has a marvellously twisted and sullen mood to it.I also have to commend August Diehl, who takes a magnificent role as the young rookie cop Marc Schrader. As the film progresses you can actually see the horrors he's facing taking their toll in his gradual physical and mental deterioration. But there are strong performances all around, especially Christian Redl as the jaded Chief Inspector Minks.A gritty and gorgeously visual thriller that I can recommend to anyone.

Sleekly shot German serial killer movie gets by for most of its length on style and the original and creepy millieu of tattoo collectors--people who display stretched out skin on their walls like paintings. The problem is that an audience familiar with the serial killer genre will likely find Tattoo very predictable and the script takes a few annoying shortcuts. For instance, it's painfully obvious very early in the film who is likely behind the murders, but the police never even seem to consider this person a suspect in spite of the fact that she's an art dealer and knows a hell of a lot about tattoo art, which is not the normal area of expertise for gallery owners. If that's not suspicious enough she first turns up at the apartment of one of the victims shortly after the murder even though she claims not to have spoken to her former friend in years. Amazingly the police never treat her as a suspect or even bother to check out her story about the death of a famous tattoo artist in New York until the very end of the film. Tattoo borrows heavily from two much better serial killer movies--Seven and the Korean flick Tell Me Something, which managed to not telegraph its surprise ending in the first twenty minutes and not make its protagonist cop look like a complete idiot for failing to figure out who the real murderer was. Still, Tattoo is a watchable enough example of the genre if you're in the mood for a serial killer movie. Just don't expect too much.

Though this movie does have more than passing similarities to David Fincher's SE7EN, I feel that comparing the two is unfair and, in my opinion, downright unwise. It is true that TATTOO unfolds in an ever rainy cityscape; follows the lives of two police detectives (with a vast generation and experience gap) while they chase a killer. And yes, it plays its drama out amidst a seedy German underworldHowever, what transpires amidst this spectacularly visualized tapestry full of rave parties, torture chambers, skin rooms, and body modification cliques willing to sell the tattoos off their body for quick cash, is vastly different in tone and theme from Fincher's 'who done it, and why' police procedural. Here the characters are not shown as black and white, but rather in shades of gray. Their lives, their dilemmas, are the real story. Even the reasons for the killings are presented in such a way that makes you understand, if not empathize, with those that a standard Hollywood picture would casually demonize. This element of moral ambiguity, under the remarkably controlled direction of Schwentke, creates a dark, cold, and subtly stylized world, that surprisingly plays as very very real. It is encouraging to see a European film with the refined sensibility of European cinema combined so adeptly with a genre so intrinsically American. It is also hard to believe that this is Schwentke's directorial debut. (I for one will keep my eye on him.)It's a remarkable film, and I certainly hope it blows the doors open for other genre films shot in Germany, and in Europe as a whole. Not since viewing Spoorloos (The Vanishing) have I been so impressed. If you have a chance, don't hesitate to catch it on the big screen. It's gorgeous, it's ballsy, and it's worth it.