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Criminal-class voyeurism?

I'm off to see The Prophet in the next couple of days and as I liked director Audiard's The Beat That My Heart Skipped, and indeed, the premise of The Prophet. I'm going to see it regardless of the reviews I read beforehand. This, from The Times' Cosmo Landesman, in which he says he just doesn't get the predominantly rave reviews it has so far received, also asks important questions, like, if we go on about costume-drama fatigue, why isn't there the same fatigue of gangster films? He says: 'There’s something suspect about the way predominantly middle-class critics and festival judges delight in watching the criminal classes on the big screen. Such films offer a touristy trip into the lower depths of society.' Perhaps. Here's the review.

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