Before starring in the 2009 Oscar nominated A Prophet, French actor Tahar Rahim appeared in a TV mini-series, alongside Largo Winch star Tomer Sisley.

Although A Prophet garnered international acclaim, Rahim's next role was a small one – luckily for him, as it turns out – in the rather dull The Eagle.

This film saw him not only return to France but also return to form.

In 1939, France saw its last big wave of immigration from North African nations. They were looking for work and a better way of life, but many found themselves even worse off.

Trying his best to survive is Younes (Rahim); he's a young man wheeling and dealing on the black market in Paris, trying to make some cash from selling the likes of cigarettes and tea to fellow Algerians.

One day he gets picked up by the French police and given an ultimatum: keep an eye on the coming and goings of those inside the mosque and report his findings back. In return, they'll be prepared to continue to turn a blind eye to his small operation.

With few alternative options open to him, Younes agrees. Although a Muslim, he hasn't really been a regular at the mosque. However, he soon feels a certain kind of acceptance from those who visit there, and he ends up making one or two friends.

When the Nazis increase their presence in the area, Younes soon finds himself between a rock and a very hard place indeed. Can he turn his back on his new-found friendships for the sake of making some money, or can he stand up against this evil force and put business as well as his life on the line?

Although I'm impressed by your enthusiasm, I just can't see this Nazis and Nuns party theme catching on.

There have been a spate of films in recent years that have focused on the French involvement in WWII (including The Round Up and Undercover War), but director Ismaël Feroukhi's focuses on the treatment of immigrant North Africans.

It's certainly a fresh angle, but the film suffers slightly from being overly soft. For instance, with Younes and co facing the might of the Germans, there's very little in the way of fear generated by their arrival. It's as if their presence is more of a mild irritation than a real threat to all of their lives.

Rahim gives a solid enough performance - particularly as he has to virtually carry the film on his own - but there's a spark missing, from both his role and the film generally, that leaves the Free Men lacking true spirit overall.

If Rahim wants to capitalise on the success from A Prophet, he'll certainly need to go for far edgier roles than this to stay noticed.