The wind blows on the district of Defense. A nutcase cowboy at the firearm, “Dobermann“, operates within his gold rush. The town sheriff wants his skin and will do all to nail it. Viewing this movie, we are in the presence of a total revision of the western, in this case it’s urban. The stakes still remain the same – the same codes, installation of duels and continuations at horses – bitumen replaced sand, the rocket launchers replaced the Colts and the powerful cars replaced diligences.
Thus, seeing only the giddiness and the vacuum of this form pushed until the extreme, with the genius in front of such an amount of glare, so much of expensive visual invention with Jan Kounen. And, like often, the truth is between the two, because in Dobermann, if there is a concern of the form, that it wants quite alive, the scenario shows some weaknesses and some of its characters are not developed with their right value.
As Christini kills Pitbull and abducts Nat with a car to rape her, Dobermann leaves his hiding place and follows him in a stolen ambulance. He overtakes Christini and manages to wrestle him down in the car.
Dobermann grinds the head of Christini on the road while still driving the car at high speed as revenge for the killed friends. Christini is left heavily disfigured on the road, presumably dying. The surviving gang members are able to escape and bury Sonia (the personage), suggesting that her treason results in Olivier having to drop his transvestite role.
As they leave the scene in their cabrio a police helicopter is shown following them, having them in firing line.