As I already reported on the film Le Mans 66, I like speed, especially in cinema. This impression of speed, the noise of the engines, the concentration of drivers, the growing tension between rivals. Everything I like can probably be found in quite a few racing films that I have already seen, most of them American. But what about French films? Michel Vaillant At the top, I unfortunately cannot say that French cinema is very present in this category. The main objective of French cinema is elsewhere. Until Fast.

I must say that I am quite surprised by the result. Although I do not have the makings of a Ford vs Ferrari , Fast manages to control its run to show us some mind-blowing images: on-board camera, use of drones for certain shots or even the noise of the gears, everything is there to surprise us, right up to the Formula 3 which drives at full speed in the cities, to the point of narrowly avoiding an accident with city cars at the corner of a crossroads. It's fast and the director has experience of beautiful images that go fast. The subject addressed is that of a young woman wanting to make her place in the world of motor sports almost monopolized by men. The film reminds us via a Alban Lenoir supercharged that, only 5 women have competed in Formula 1. The last woman to have attempted to participate being Giovanna Amati in 1992.

As for the character of Max, she is a woman who was born to drive at full speed, and will have only one dream in mind: to demonstrate that women have not said their last word. The interpreter who plays the main role (Paola Locatelli) is bubbly and full of life, ready to fight against prejudices. All this gives the film some energy, even if everything is not rosy and well controlled quickly.

We love the acting of the two main actors, the passage of Tchéky Karyo in the role of Stanislas's father. But all this could be marred by a film with a somewhat predictable plot. But it is true that it is difficult to do more original than two people looking into each other's eyes to see who will be the best on a race track

Although the film demonstrates the director's obvious ambition in its racing scenes, the script suffers from a lack of finesse, particularly in its opening section. The romantic relationship sketched between the two rivals, quickly abandoned thereafter, would have deserved either more in-depth development or being completely removed from the plot.

Ultimately, this work represents a true feat in the French cinematic landscape, where this genre is particularly rare. Its few imperfections should be overlooked, as the film as a whole is well worth the detour.

L’article Rapide : Une femme rebelle dans la F1 est apparu en premier sur La Piqure de rappel.

For some time now, there has been something that is no longer working in the films of Ridley Scott. After seeing Gladiator 2 with a friend, we were of the same opinion: Gladiator 2 did not inherit much from its predecessor and does not renew the genre.

As for me, when I heard about the project of a sequel to Gladiator, I was a little disappointed. Gladiator did not necessarily need a sequel because the ending was sufficient. But if you know a little about Hollywood, you are hardly surprised to see scenarios that had been abandoned come out of the closets to make sequels. This project of Gladiator 2 seemed to me to have the scent of déjà vu just by its title. In other words, it smelled of fir.

Before analyzing the film, I wanted to clarify that I have not recently revisited the original film. My approach is deliberate: my previous experiences have taught me that rewatching a first opus before its sequel can often lead to disappointment. I therefore chose to discover Gladiator 2 with a neutral and open look, without preconceptions or immediate comparisons.

As we left the screening, there was a scent of disappointment in the air. I wouldn't say we hated the film, but it lacked something that could leave the viewer in awe at the end of the screening. Of course, the spectacle is guaranteed thanks to the many battles that take place in the arena, including the naumachia.

The sets are notably lacking in variety, with the film focusing primarily on the arena, which takes up nearly two-thirds of the screen time. This spatial limitation creates a sense of confinement, which could suggest budgetary constraints. However, with an estimated budget of between $250 and $310 million, Ridley Scott had the means to develop a more ambitious staging. But I will return to the details of the production later.

Regarding the choices of the main actors like Denzel Washington, Pedro Pascal or Connie Nielson who takes over the role of Lucilla, their presence is not to be questioned. Denzel Washington delivers a masterful performance in the role of Macrinus, strongly embodying the devouring ambition of a former slave determined to rise in Roman society. His charismatic presence and his intense interpretation eclipse that of Paul Mescal, however the main protagonist in the role of Lucius Verus.

But it is especially the writing of some characters that is weak. As in recent films, Ridley Scott forgets to put some depth into the secondary characters like that of Arishat, Lucius' wife, played by actress Yuval Gonen. Her character has a limited presence in the film, appearing only briefly in two scenes, which does not allow the audience to develop a real emotional attachment to her.

But while the performances of the main actors contribute to the film's charisma, not everything is perfect. Some situations and dialogues lack naturalness and seem artificially integrated into the story, harming the work. For example, the scenes between Lucius and Lucilla sometimes suffer from narrative inconsistencies. I think there should have been fewer fights and the scenes should have been reworked so that they were better linked together.

However, the film still has some strengths. The visual effects are successful at certain moments, such as the appearance of the rhinoceros in the arena, even if the presence of the rhinoceros in the fighting arena is debatable. As for the scenes of naumachia in the arenas that I thought were historically inaccurate,they did exist. According to historians, these naumachia as they are called were present even if they remained rare because of their cost, and were only conceivable for certain arenas adapted for the occasion.

Gladiator 2 was marred by production difficulties, with filming extending from June 2023 to early 2024, largely due to the actors' strike. The script struggled to see the light of day, with first drafts as early as 2000, but no version was satisfactory. Three screenwriters succeeded one another between 2000 and 2018, and although Nick Cave proposed a bold version in 2006, it was rejected for being too radical. Numerous rewrites and internal and external elements contributed to this film being a messy project that was not mastered from start to finish.

In conclusion, I would say that Gladiator 2 is a film that offers an impressive visual spectacle and benefits from solid performances from its lead actors. However, it fails to capture the essence and impact of its predecessor. The lack of innovation, writing issues, and production constraints have led to a film that, while entertaining, does not fully meet expectations. It remains a great entertainment for those looking for action and spectacle, but fans of the first installment may feel some disappointment at the lack of narrative depth and character development.

L’article Gladiator 2 : N’est pas fils de son père qui veut est apparu en premier sur La Piqure de rappel.

There are films that give you the impression of a unique cinematic experience, that offer you another reading of a well-known societal phenomenon: the cult of the body. The new film by Coralie Fargeat, offers this singular and disturbing vision at the same time.

Through a gripping cinematic experience, the director deconstructs our collective obsession with physical perfection and offers a new perspective on this societal phenomenon. Her unique visual approach transforms a familiar subject into a work that disrupts our usual perceptions, using the prism of the 80s fitness industry as a mirror of our contemporary societies.

The aerobics sequences are filmed with occasional close-ups of certain parts of Sue's body, showing how superb her body is. In fact, these shots are reminiscent of perfume advertisements as the camera revolves around the actress with a polished aesthetic. The director skillfully uses a pulsating electronic soundtrack to accompany these close-ups, creating an atmosphere that is both glamorous and slightly disturbing.

The leitmotif "the best version of yourself" that resonates throughout the film like a toxic mantra, is also used in everyday life by some life coaches to tell their clients that you have to be perfect to succeed in life. Perfect in excellence, with the goal of the cult of beauty as the only criterion for success. This is also quite well shown in the film through the character of Dennis Quaid who seeks to renew the main presenter of an Aerobics show, finding her too old.

At 61, Demi Moore delivers an intense physical and emotional performance, courageously questioning the beauty standards imposed on women in the entertainment industry.

The film gradually falls into the tradition of body horror, the favorite style of David CronenbergLou's physical transformation, at first subtle and then increasingly disturbing, illustrates the dangers of a society that pushes women to extremes to maintain an appearance of eternal youth.

The excessive length of 2h25 constitutes the major weak point of the film. If the whole is mastered, there are one or two scenes at the end of the film that could have been cut from the editing. The final sequence, for its part, is particularly evocative: it accurately depicts our progressive erasure in a society where visibility is ephemeral.

L’article The Substance : La perfection n’existe pas est apparu en premier sur La Piqure de rappel.

Ishana Shyamalan is a director whose last name is probably not unknown to you. Indeed, Ishana Shyamalan is the daughter of the master of the twist: M.Night Shyamalan.

For those who still don't know who it is, he is, among other things, the author of the films Sixth Sense, Unbreakable, Signs and more recently Split.

The director's first film, The Watchers takes us to the forests of Ireland where strange phenomena take place. We follow Mina, an American working in a pet store, who will have to travel to deliver a precious bird. But on his way, his car breaks down in the middle of the forest. Completely lost, she will find refuge in a bunker where three people live. At nightfall, the protagonists will have to follow a ritual to survive.

The film itself would certainly not have hooked me since it is part of the type of films that I rarely see: Horror films. But when I learned that it was the daughter of the famous director who had made it, it piqued my curiosity.

Most directors' first films are a risk for them because they have to prove their ability to make films and find their style. But Ishana Shyamalan was surely immersed in her father's films during her youth because her style is close to them.

The Watchers is brilliantly executed for a first-time director behind a camera with a style that mixes horror, fantasy, myths and legends. All these styles intertwine harmoniously.

The action takes place in a dark forest which comes alive at nightfall. In this style, it could be similar to the Blairwitch project because the camera almost never shows the origin of the ambient noises, leaving the viewer to their own interpretation.

The fear of the dark or also called nyctophobia, we all faced it when we were younger. The fear of the unknown, the fear of not understanding what is happening in front of us, when our eyes see nothing and only our ears can interpret what is happening. This is the whole point of this film which in its first part plays with our senses.

Another point in common with the cinema of M. Night Shyamalan is the impression of slight strangeness in the words of the three protagonists who come to welcome Mina into their Bunker. Accompanied by a distressing and oppressive atmosphere, the questions that Mina asks herself will find their answers in a natural way without us being lost in the explanations. On this point, The Watchers surpasses Hypnotic , film directed by Quentin Tarantino's accomplice, Robert Rodriguez.

Like any self-respecting horror film, there are inevitably moments where the viewer is startled at the moment of jumpscares. If for me, this technique no longer scares me because I often find it predictable, I find that Ishana Shyamalan is innovative in her way of capturing fear. In this film, these are no longer tight shots on a bruised face. She uses nature, animals and even the environment to scare us. Just like the anamorphic silhouettes that we see approaching little by little.

There is no doubt that CGI had to be used in certain scenes, because the movements of the creatures are prey to doubt. But make no mistake, it can be practical effects and disguises as well as in the film The Last Journey of Demeter, where the vampire was nothing more than a skinny actor in makeup.

In the main role, we will find Dakota Fanning that we could see in the masterful interpretation of this young girl in the film War of the Worlds. But Ishana Shyamalan also surrounded herself with experienced actresses for her film, sinceOlwen Fouéré (The Northman) and Georgina Compbell (Black Mirror, Bird Box: Barcelona) are part of the cast. Overall, the actors are well directed and the writing of the characters helps with their interpretation.

The film progresses steadily in the plot and the film is never too long. The mysteries of this forest are revealed little by little and give substance and rhythm to the film which can be watched without ever getting tired.

The film's soundtrack is well tuned with violins and lyrical singing which accentuate the dramatic and distressing scenes. This makes me think even more of Scotland.

There would only be one thing to criticize about the film, it's the moment where things take a turn: The car breaks down. The scene is a bit conventional and falls a bit like a hair in the soup. We don't really know how and why it breaks down without there being a phenomenon to explain it. But that said, the scene is quick and we move on.

For a first film, it's very successful from a young director. We will have to follow it closely because it may have some surprises in store for us in the future.

And one thing leads to another, Night Shyamalan will release his next film in August under the name Trap, the trailer for which seems to bode well for us.

L’article Les Guetteurs : Ne tombez jamais en panne dans les bois est apparu en premier sur La Piqure de rappel.

Genesis

It only took me 3 evenings to watch the entire series.The Tick. The series is made up of a first season of 12 episodes and a second of 10 episodes (25 minutes on average per episode), this series immerses us in a universe of superheroes, each more zany than the last. The Tick tells the story of Arthur, an outsider accountant who realizes that his city is in the hands of a supervillain, The Terror, whom he thought was long dead. To fight The Terror, Arthur will join forces in spite of himself with a superhero named The Tick, for worse and for better.

History of the series

This superhero about whom I knew nothing did not appear with Amazon Prime, since the hero in the blue tights dates from the 80s. Created in 1986 by the cartoonist Ben Edlund, The Tick is inspired by superhero comics from the 1960s, with their caricatured characters and absurd situations. Inspired, Ben Edlund will make him a naive, innocent and clumsy hero, who believes in good and justice. A few years later, the author decided to develop the character in a series of comics in 1987.  

In 1994, it was the turn of the small screen to take possession of the tick in a cartoon broadcast on Fox. The animated series will be a critical and commercial success. It will be entitled to 3 seasons for a total of 36 episodes.

It was in 2001 that The Tick returned in the form of a television series with the main roles Patrick Warburton (The Disastrous Adventures of the Baudelaire Orphans, Malcolm and Code Quantum) and David Burke (Nashville, Chuck and Bones). We will also find Arthur's boss, played here by Christopher Loyd (Back to the future). It is in this series that Ben Edlund will introduce the character of Arthur Everest, a clumsy and shy accountant who will become the tick's sidekick. The creator of the series wanted to be the most faithful to the comic book. But despite Ben Edlund's good intentions and positive reviews, the series had difficulty finding its audience across the Atlantic and it ended after 9 episodes.

Amazon prime

Looking for several years for a solution to revive The Tick, Ben Edlund approached Amazon Prime. He sees it as an opportunity because superheroes in cinema are booming. This created a demand for original series on this theme. “The Tick” proved to be a wise choice to meet this demand.

The Tick will arrive on Amazon Prime which is the broadcaster and producer with Sony Pictures. We find there in the role of The Tick Peter Serafinowicz, and in the role of Arthur Griffin Newman.

What do I think of it

When I saw the first episodes of the series on Amazon Prime, I thought it was a bad joke. With its Hero Corp humor, kitsch style and costumes, the series seems at first glance a failed attempt to ride the wave of superheroes. But after a few episodes, we remain glued to the chair to follow the wanderings of our two heroes. We don't really know why, we have the impression of a series developed by fans but with a comfortable budget when we see the sophisticated costumes. The antagonists are more caricature than anything else and yet we get carried away. But if we look closer, we can see that this series is the most accomplished of all the adaptations, and perfectly in keeping with its time.

If the first season is based a lot on humor that is a little heavy at times, the end of the first season takes a rather pleasant direction. This will be confirmed in the second season with a slightly better-crafted plot and better-balanced humor. With the end of season 2 open, I think it was planned for her to return for a third season. But the creator, Ben Edlund, announced on Twitter in May 2016 that the series would stay there:  

“I am sorry to say that Amazon has chosen not to pursue @TheTickTV. I'm not sorry to say that I love this series, its cast, its story and its message. Destiny demands that my compatriots and I now seek a new home for this series. » 

If Ben Edlund does not specify Amazon's motivations for stopping production, we can nevertheless have some clues: The series was expensive to produce (50 million dollars for the first season), Amazon considered in view of the audiences, that it would not be profitable in the long term. 

It's a shame because the series received numerous Emmy Award nominations in 2019: One for stunt coordination managed by Chris Centiempo, and another for the main theme. Since the end of the series, Ben Edlund has been looking for solutions to keep his creation going. In 2023, the creator of The Tick published a novel that was praised by fans for its humor and action. 

With an annoying season 1 for its omnipresent humor at the expense of the plot, the series managed to raise the bar in season 2 to end in apotheosis with a final episode which leaves us wanting more. 

L’article The Tick: Une série super-loufoque  est apparu en premier sur La Piqure de rappel.

No one can ignore – especially in France – the impact of Henri Grouès, better known as Abbé Pierre, on French history. No one can forget him because he is the one who will create Emmaus with Lucie Coutaz, after having fought tooth and nail to have the necessary resources to accommodate the homeless during the winter of 1954. One of the deadliest winters, because for 3 weeks, the temperature will be harsh with a feeling of -30°. This extremely empathetic man was never satisfied with what he accomplished.

Abbé Pierre: A life of struggle tells the life of this man of the church from the time he had to leave the Capuchins until his death in 2012. It is therefore his entire life which is retraced in 2h18.

I saw the film for the second time, to my great delight. I hadn't seen the first biopic released in 1989, with Lambert Wilson in the title role. . But according to the trailer forHiver 54, l'abbé Pierre, I can only say one thing: Benjamin Lavernhe's acting performance is absolutely magnificent and far surpasses the acting of Lambert Wilson who struggles to be charismatic.

Benjamin Lavernhe is an actor that I first discovered in The Sense of Wonder and which had already surprised me in its time. This film, in which he starred alongside Virginie Efira, dealt with Asperger's syndrome.

As for the Frederic Tellier biopic, the acting direction and makeup add authenticity to the main character to the point that we no longer see the actor behind the mask. The tone of voice, gestures and gait are illusions for the viewer.

In terms of photography, nothing stands out and each shot is chosen for a good reason. the film has a contemplative dimension: the camera stares at certain objects and settings for several seconds in silence as if time were suspended. It is throughout the film that we will be able to observe this process which does not weigh him down in any way, but on the contrary will allow us to take a break from the struggles of this man of the church. Moreover, the first shot of the film tells us where the feature film is going to take us: We see a very beautiful starry night, with a mountain in the background on which a man stands and looks into the distance. The moon barely lights his face and a well-known voice-over tells us about Abbé Pierre's concerns. This magnificent scene – as well as the last shot of the film – is filmed in a graceful and peaceful manner. The quality of the staging makes us feel the director's fascination with his main character, played by Benjamin Lavernhe who plays him masterfully.

All these positive remarks lead me to think that French cinema is far from having said its last word and that certain directors know how to take risks, while certain American blockbusters fail to reinvent themselves.

In short, Frederic Tellier's film is for me a vibrant tribute to its main actor who surpasses himself.

Sources

• Winter weather 54
• News 8 p.m.
• Call of February 1, 54
• Press conference
• Benjamin Lavernhe's favorite archive on Abbé Pierre

L’article L’abbé Pierre, une vie de combats : Un hommage émouvant est apparu en premier sur La Piqure de rappel.

Released December 8, 2023 on Netflix, Leave the world behind is adapted from the novel of the same name by Rumaan Alamest.

The film is directed by Sam Esmail who worked on the series Mr Robot who had praised the canvas. The film tells the story of a couple who want to take a break and decide to rent a house for a weekend. But once there, strange events will happen one after the other. This film brings together actors known as Julia Roberts, Ethan Hawke, or Kevin Bacon in a supporting role.

The film is reminiscent of style Night Shymalan in the sense that it combines subjectivity and strange events following one another without any apparent connection. One of these films were The Happening. Night Shyamalan then played on the ambiguity of situations to lose the viewer and put him on the wrong track. But The World After also makes us think of another film by the master of suspense: Signs which reinvented the science fiction and extra-terrestrial invasion film by focusing on the fear of the protagonists in the face of a situation that was beyond their control. Anxious atmosphere is one of the appreciated features of the film.

In the world after us, the main characters feel just as destabilized by a situation that has nothing in common. The Stanford family no longer has access to the communications network: the Internet and landline and mobile phones no longer respond, and therefore cannot contact anyone. Even the terrestrial radio no longer works and it is therefore impossible to get news from outside. Something is wrong and it's worrying. The owners will reinforce this thesis by coming to see their tenants to try to make them understand that they are better off and safer in this house. Which will add a little more mystery and questions about what is happening around them.

I really enjoyed the film because several themes are covered. Dependence on technologies, solidarity but also the survival instinct. Two characters reflect one of the aspects of the film: anxiety and paranoia. Amanda Standford (Julia Roberts) and Ruth Scott (Myha'la Herrold) are portrayed in the film as people who are wary of appearances.

The film is also not simply a disaster movie (if it can be called that). He explains to us that in such cases, it is important to come together so as not to sink into chaos and panic in the face of a situation that is beyond our control. To be able to trust ourselves because society requires us to stay on our guard and only trust ourselves. To the point of becoming paranoia in some people. This is the strength of this film which does not give pride of place to explosions like in the films of Roland Emmerich. Here, everything goes through the psychology of the characters.

Dependence on technology is also addressed in this film which shows us that we no longer know how to do without it. How can we then react accordingly if we no longer have a way of getting news from the outside world?

The film was produced by High Ground, a production company founded by Barack and Michelle Obama. Barack Obama who had already produced animal documentaries for Netflix. If the former president was able to instill his vision of things for the film, I would still have a comment to make about the ending of the film: It leaves us wanting more and could have had a more developed ending. But despite some small flaws, the film remains above most Netflix productions. So watch.

L’article Le monde après nous : L’union fait la force est apparu en premier sur La Piqure de rappel.

Foreword

Most cinema biopics tell the story of a period in history. These kinds of films like to announce that the film is “inspired by a true story”. If there was an experience, there are logically testimonies and documentation on the subject.

I am therefore going to do a little history on the conquest of America, where many suffered from these colonizations and talk about their transposition to cinema. But if you prefer to skip straight to the review, you can go straight here to get my My opinion.

The sad history of Native Americans

In our childhood, we all had history lessons during our school period. Courses in broad terms that required us to go beyond appearances so that we could immerse ourselves in books.

From my experience, the more the years pass, the more the lessons I have had evaporate over time, retaining only the essentials. That doesn't mean my memory is failing. But because the history teacher I had couldn't or didn't want to give too many details. Certain periods of history being quite dark, they are not mentioned to children aged between 8 and 14 years old.

There have been major events in history that still have repercussions today. The period of history that interests us here and that of America which was founded on human disasters.

When Christopher Columbus believed he had found the Indies, he did not yet suspect that his discovery would provoke wars for the domination of territory, spices and gold (between 15th and 16th century). The conquistadors, attracted by gold, caused millions of victims, particularly with the conquest of Mexico and the Inca empire.

Between the 17th and 18th centuries, there was an expansion of European colonies in North, Central and South America. Several countries will be added to Spain and Portugal: France, England, the Netherlands and Sweden. The great European powers will compete for control of America's natural resources and markets.

It was in the 18th century that there was a real struggle for the independence of the American colonies. The United States of America, Mexico, Central America and South America will get it in the 19th century.

The colonization of the Americas by Europe, having brought with it diseases, technologies and different cultures, will have a profound impact on the indigenous populations,

Concerning the Native Americans of North America, 3 wars were particularly deadly:

• King Philip's War (New England) between 1675 and 1676
• Yamasees War (1715-1716)
• Pontiac's War (1763-1766)

To learn more about these wars, go here

This dark and sad story of the conquest of America has often been brought to the cinema. In most films until the last 3 decades, Indians were depicted as bloodthirsty savages scalping their victims. Films essentially based on the knowledge of the time, conveying a bad image of Indians, pointing the finger at them. Films were there to show a certain truth, a bit like our history lessons.

This representation in cinema of the legitimate white man heir to lands previously inhabited by the natives, was born in 1930 until the end of the 1950s. This period is marked by the emergence of the western as a genre in its own right. The films of this period are traditional westerns which show the conflicts between white settlers and Native Americans. These films have a spectacular setting with heroic characters. The Fantastic Ride (1939), Shane (1953) And The Magnificent Seven (1960) are among the most notable films of this era.

Then came the twilight western period (1960-1970) which highlighted dark and violent films. The first of this era will be For a handful of dollars (1964). It was during this period that the spaghetti western emerged. In this category, we can cite The good, the bad and the ugly (1966), Djando (1966) And Once upon a Time in the West (1968).

Finally, the post-modern period which begins from 1970 and will continue until the end of the 2000s. This period is a turning point in the western genre, since it will allow the convections of the established genre to be questioned. They are essentially revisionist films. The Good, the Bad and the Ugly (1966), Ruthless (1992) And Open Range (2003) are among those.

During the 1990s, awareness arose and many countries recognized this massacre as a crime against humanity.

It is in this context that films like Dancing with the wolves (1991) made their appearance. Dances with Wolves is a film by Kevin Costner who was his first attempt as a director. Dances with Wolves will thrill viewers for its storytelling. It made a big noise because it went against what we had seen before. He is described by critics as humanist, astounding, advocating tolerance and understanding of cultures. Kevin Costner will also receive 7 Oscars for this film the same year.

Several films will ride on the success of Dances with Wolves, but without ever really matching it. The Last of the Mohicans(1992) is a good example since despite his qualities, he will be criticized for caricaturing Native Americans, portrayed as cruel and bloodthirsty savages.

Little by little, the films are moving away from their very colonialist and caricatured representation of native Americans to move towards something more authentic.

But this golden age of the western has been relegated to the background today. Tarantino's latest film,Once Upon a Time in Hollywood tells us in a colorful but splendid way the end of the traditional era of westerns, through the story of an actor whose career is in decline. Certainly one of the director's best films.

Martin Scorsese

I love historical frescoes in cinema. These films that delve into the entire life of a character. Laurence of Arabia, Once Upon a Time in America and many others. These films were able to conquer their audience with their content and their characters. If a film must last this long, it is because it has the duty to tell something in detail and in an intelligent way without boring its viewer. So it’s a real balancing act.

One of the few who still knows how to do it today is certainly Martin Scorsese. With more than 64 years of career under his belt, the director, now 81 years old, has shown more than once what he knows how to do in terms of cinema. In addition, he is part of a line of directors who still shoot in the old-fashioned way today, meaning that he often relies on natural settings to immerse the viewer. What is also remarkable in the maestro's filmography is his mastery of direction and, above all, constant quality of his films. And with the years that pass, we can now say that he no longer has anything to prove, proof with his latest film.

Killers of the flower moon

Killers of the Flower Moon is Martin Scorsese's latest historical film released this year. This is not his first historical film. Casino, Gangs of New York or The Irishman were already films based on true events.

The story he tells in this film is based on a book by David Grann titled The American Note (the original title is Killers of the flower moon). Grann had to investigate for 5 years to find the testimonies of Osage grandchildren and great-grandchildren on facts dating back to 1920. This unknown history of America was made public thanks to the publication of this book in 2017. At the beginning of this twentieth century, the Amerindians had not yet reached the end of their suffering after so much hatred directed against them. But if from the 16th to the 19th century, it was a question of extermination of Native American peoples for their territory, this history of the 20th century is largely based on resources and discrimination against these people.

The Osage, forced to cede their native lands, Missouri and Arkansas, at the beginning of the 20th century found themselves entrenched in an Indian reservation in Oklahoma (under the Medicine Lodge Treaty) of 1400 square meters. The reserve is based in an arid and inhospitable region. The Osage have struggled to adapt and face discrimination. In 1897, they discovered oil on the reserve and found a way to turn it into wealth. But the white settlers heard about it and began to exploit the Osage and their lands, using more than questionable means: stabbing, poisoning, arranged marriages to kill the woman later and inherit, nothing would be spared. A total of around sixty villainous murders will take place in order to rob them of their money. An investigation by the future FBI will take place and justice will be done in 1922.

The Osage killings are a tragic example of the violence and exploitation that indigenous people have suffered in the United States. It was therefore important for Martin Scorsese to be able to remain as faithful as possible to the history of the Osage.

Authenticity

Scorsese didn't do things by halves to Killers of the flower moon. He first read David Grann's book, then traveled to Osage lands. Finally, and because without them nothing would have been possible, Martin Scorsese met for several hours with several people directly or indirectly linked to the case, including:

• Charlene White Eagle-Williams, a descendant of the White Eagle family, who was one of the first victims of the "Moonflower" murders.
• Billie Jo HorseChief, an Osage historian and activist, who helped Scorsese understand the history and culture of the Osage people.
• Clyde and Wilma Ellis, an Osage couple who told Scorsese about their memories of the murders and life on the Osage reservation in the early 20th century.

Scorsese wanted to be as close as possible to the story and often came back to see them to enhance his scenario, even attending certain Osage ceremonies.

The result is there: Scorsese going for surgical precision when it comes to telling the story, paying homage to the Osage in a very beautiful way. It is striking to see that the film redraws every detail of this period on the big screen. Ranging from the unexpected enrichment of these Native Americans via luxury objects, white people and gambling or even the chiseled characters of the characters, nothing is missing from this film whose photography is beautiful even at night. This is a change from night shots filmed with a blue filter.

The sets and photography

Just like his mastery of telling his story, Scorsese's camera films filthy and dusty settings immersing us in a genre that the director had never experimented with: The western. But it's because he knows what he wants to film that it seems so real, the filming having taken place on the Osage reservation in Oklahoma. color grading gives a natural tone to everything.

The characters and actors

The terrible tragedy of the Osage is closely linked to the misdeeds committed by Ernest Burkhart and his uncle William Hale on this tribe.

William Hale was well known among the Osage for donating to charity and being loyal. Robert De Niro's interpretation of Hale makes him a real monster, devious and manipulative. Because if Di Caprio's character is loyal to his uncle because he found a job despite his poor skills, Hale will not hesitate to manipulate his nephew to obtain every last dollar. Employing all possible and imaginable means that a human being can imagine to achieve his ends. De Niro making Hale someone cold, greedy and unscrupulous. And the message comes across wonderfully on screen. I had never seen such a detestable antagonist in the cinema. De Niro will say in an interview dedicated to Critqal not understanding William Hale's behavior, not understanding how and why he did so much harm to this community.

As for his nephew played by Leonardo Di Caprio, he is portrayed as a person with a low level of education having finished his military training, looking for fortune thanks to the oil fields. It was then that in 1912 he joined his uncle who gave him a job. Not suspecting for a moment that his uncle's goal of marrying him to an Osage woman was to inherit his fortune when he died. Di Caprio plays a complex and ambiguous role, whose true motivations will be difficult to pin down. Playing on two levels, we feel he is execrable, plundering the dead of their wealth while shamefully trying to reassure his wife Mollie Kyle Burkhart.

Mollie Kyle who is played by Lily Gladstone. Originally from the tribe of Nimíipuu and Picunis , this Native American actress will leave the Blackfeet reservation to take theater classes. She will not be the only Native American to have been hired in Scorsese's film, since many other people of the same origins will be taken for secondary roles like William Belleau (Henry Roan) or Atanka Means (Agent John WrenWren) who is from of the Osage tribe. Always with a concern for authenticity for the director.

Lily Gladstone plays a Mollie Kyler who lets herself believe that Ernest Burkhart is different despite her sisters' warnings. But she is not fooled by the intentions of her husband, who is a white American like any other, who has come to seek his fortune. But for her, he is in no hurry. Lily Gladstone's interpretation is just magnificent. We can guess his thoughts just by seeing, in his non-verbal expressions or the words expressed in English or the Osage language.

The Osage language

Indeed, unlike certain films or series where people use the same language to communicate with each other, Scorsese made the effort to reteach the actors who needed it the use of the original language to better fit the character. Indeed, the Osage speak a Algonquian language which is threatened with extinction today. So it took Lily Gladstone months of rehearsal before she could speak Osage correctly. Just like it is for Robert De Niro and a few others.

Scorsese wrote and directed a story as it was experienced, without filters, in a raw way. The series of murders perpetrated are represented on the screen without moderation, putting the viewer to torture. But knowing the way Scorsese films violence, this is hardly surprising.

As I said above, the work on Killers of the flower moon was titanic to be as close as possible to reality. The film may seem harsh at certain moments, but I think it was essential that it be so to impact the viewer who is not familiar with this episode of American history.

I think films have this duty to preserve history when they are well written and directed. For my part, this film taught me one thing: Whatever the eras, man has always been hungry for power and sought to dominate others on a more or less large scale. He can commit the worst mistakes as well as the best actions, and have the worst intentions in order to appropriate what does not belong to him.

This film particularly moved me and still today, it is the one that deeply marks my attachment to the history of the Native Americans and in particular the Osage. A situation that comes close to being slowly exterminated out of greed. I don't have words strong enough to express and characterize the type of humans ordering this kind of atrocity. At times, this film made me think of the worst moments in our own history.

This is why I put so much effort into writing this article: To go beyond the film and seek out as much information as possible about what happened at the time. And my next bedside book to complete my research will be David Grann's book which is quite affordable.

This film mixes traditions and modernity, Indian traditions and modernity brought by the descendants of the settlers. But even if jealousy of others exists in all cultures, here it is multiplied by ten and imported among people who only wanted one thing: to escape their poverty to live better.

And here, Scorsese succeeded on all counts, making us think about human nature.

Sources and Inspirations

• “The American Note”, David Grann’s terrifying masterpiece
• Did the United States commit genocide against Native Americans?
• Press conference – VF – Cannes 2023
• Christopher Columbus, a real tyrant?
• Osage County OK Killers Flower Moon
• The Osage murders and “Killers of the Flower Moon”

Many thanks to everyone who supported me in writing the article.

L’article Killers of the flower moon : La tragédie oubliée de l’histoire est apparu en premier sur La Piqure de rappel.

After surprising his audience with the Cloud, Just Philippot returns to the forefront with this film featuring a threat that affects many more people than locusts: Rain.

Rain as a potential source of problems for humans, this had already been mentioned in the Danish series The Rain. But while in the series the rain carries a virus that kills, here it has become acidic, the consequences of climate change and greenhouse gases. This film is inspired by the short film of the same name dating from November 2018 and which had had a small effect.

Loosely inspired by this short film, the film tells the story of a separated family whose father is a trade unionist who has just been sentenced for having kidnapped and beaten his boss. Following his judgment, he was released on probation, forced to wear an electronic bracelet. Her daughter is disconcerted by the situation and no longer knows which of her two parents to turn to. Until acid rain arrives and reshuffles the cards.

The first thing we can say about this film is that it is incredibly grimy, all in an anxious atmosphere close to the apocalypse where everything seems materially dead. People have known for a while that the phenomenon exists, but no one is prepared for what it could happen to them. The situation is even described as an exaggeration by the media.

And when that happens, we only think about one thing: surviving. Survive, because that is the only thing that matters to us in such moments. Nothing is more urgent. There is no way out, no solution at the moment, it is fatal, inevitable. Apart from being with these loved ones to live the last moment together, so as not to die alone. So there would be no happy ending. Except perhaps in certain American disaster films where an outcome is always possible at the end of the film. Not in the Just Philippot film.

From start to finish, the film puts our nerves on edge, the viewer trying to know when the nightmare will end. It's simple, the film reminded me of the series The Walking Deadd for its cataclysmic side and War of the Worlds by Steven Spielberg, where instinct and the primal fear of men overcome everything with a single goal: Stay alive. To interpret my comments on Spielberg's film, I recommend the analysis made by Marty's Session on The War of the Worlds, which demonstrates in an exceptional way the paroxysm of a situation out of control.

Just Philippot does not spare its viewer. The feeling of fear is very present. How to protect yourself from an element that interferes everywhere and is deadly. This element which is nevertheless a source of life in ordinary times, here becomes the worst enemy that we can imagine since it is everywhere. How can we not raise our eyes and peer into the distance if we don't see the threat of a gray cloud, the dull, distant sound of thunder that when we were so frightened.

On this point, the film is successful. Two wide shots clearly show us the scale of the threat and the terror it brings us.

This acid rain will not only terrorize us with its dangerousness, but also deconstruct our certainties about what can keep us alive. Keep us safe in cars that melt like plastic? The rust that results from this in turn becomes dangerous. Just like the bridges made of steel and which seem to become houses of cards, very fragile in the face of this element which has become public enemy number 1. And finally the water of streams and rivers which are no longer a source of refreshment but which inspire distrust. If unfortunately you risk it, it's over for you, because the acid rain is dense, nothing will be spared you. Just Philippot shows you in a raw way what happens to your skin at that moment and brings us closer to the vision of horror of the faces of the zombies in the American series mentioned above.

If technically the film is very successful for a budget of 3 million euros, it is not perfect. The anxiety-provoking atmosphere of the images of desolation overshadows the anguished characters who lack nuance in their acting. Here, there is no significant development in the characters and they seem cold. If Guillaume Canet's character seems aware of his violent actions, it doesn't really help him. Just the feeling that he needs to bring his family together, especially his daughter who he is afraid of losing. A way of redeeming his heavy past, but without the film being able to offer a glimmer of hope.

Don't think the film will leave you unscathed. This film is not a film from the world of Hollywood. Philippot's film is not here to brush you off or show miracle solutions to the phenomenon. He is there to point out the consequences of a phenomenon which could worsen if nothing is done in the next twenty years. Because if the film presents the subject of acid rain in an exaggerated way, this rain already exists in the world, slowly killing flora and fauna.

It is therefore a fairly dark film, ruthless and raw in its staging but which is there to alert us to the consequences of modern man, halfway between fiction and reality.

L’article Acide : Le pire ennemi de l’homme vient des nuages est apparu en premier sur La Piqure de rappel.

There are films which have huge budgets for very average results, and sometimes films are released in cinemas which do better with a tight budget. This is the case with The Creator.

Directed by Gareth Edwards, known for his work on Godzilla And Rogue One, The Creator tells us the story of a war between humans and artificial intelligence, a war which began when a nuclear bomb fell on Los Angeles.

Carried by a John David Washington which we had already seen in Tenet, The Creator has the particularity of having a sublime artistic direction. The special effects are very accomplished and natural for a budget of only $80 million. This is remarkable for a film which has a digital effect in almost every shot. Moreover, this type of natural special effects which blend with the decor made me think of District 9.

Visually very successful, the film offers us a range of sets and costumes mixing tradition and modernity. Artificial intelligences wear costumes and shapes that allow us to perceive their function at first glance. Ranging from the classic soldier to the farm worker to the nanny, all this variety is pleasant to see.

Even if the film is artistically successful with many technological ideas, the scenario is not that innovative and sometimes predictable. The war between machines and humans has been exploited many times in the cinema, we think in particular of Matrix, Terminator and to a lesser extent I Robot.

But if the basis of the scenario seems warmed up, the scenario draws on ideas from the latest world conflicts with the United States as the great power. This symbol of all power is represented by a ship, the USS Nomad, capable of carrying out surgical strikes from space. This enormous ship is mainly there to flex its muscles and fly over civilian areas in order to detect rebel bases. This war in this film reminds us of recent conflicts, such as the Gulf War where the Americans justified their presence because they believed that Iraq possessed weapons of mass destruction. Here, it's the same justification for using the USS Nomad and razing entire villages because they would not submit to American authority.

Gareth Edwards here points out the errors of the United States and the justifications for waging war without basis or discernment. Besides, there is also a political statement and a fear of man's own creations. Feeling overwhelmed by the intelligence and autonomy of simulants (or AI), the leading world power is fighting back and using all means to achieve its goal without retreat.

The film is therefore not perfect on all levels but The Creator can puff out his chest by succeeding in taking us on a journey into a palpable and realistic universe, while big productions like Marvel have special effects which no longer deceive the viewer. human eye.

L’article The Creator : Un film antimilitariste est apparu en premier sur La Piqure de rappel.

Agatha Christie and the adaptations

Agatha Christie and Sir Conan Doyle must be proud of all the popularity their characters have acquired over the decades. Through numerous books, films and series, it has become impossible today not to know these two private detectives, Hercule Poirot and Sherlock Holmes.

The subject that interests us today is of course Hercule Poirot. This private detective born in Belgium will be mobilized as head of security during the world premiere. Wounded in the leg, he was declared invalid and repatriated to his country. A few years later, he became a private detective and settled in London. This man is surgically precise, analyzing every move. But his main fault is pride. Always dressed in a classy manner, he likes to be highlighted for his intelligence and does not like people to question his deductions.

Hercule Poirot has been adapted many times for cinema and TV. Death on the Nile and Murder on the Orient Express remain the only two books to my knowledge to have been adapted so many times (cinema, TV, comics and video games).

Kenneth Branagh

It was therefore normal that a new film adaptation of Agatha Christie's novels would see the light of day. And it was Kenneth Branagh who was chosen as director for Murder on the Orient Express in 2015 (the film was released in 2017). Even if I don't find him physically suited to interpret Hercule Poirot, I must say that in this first film he knows how to play his character. Perhaps too much in my opinion due to the excess confidence he places in his interpretation. Without forgetting the enormous mustache that Kenneth Branagh sports and which we cannot miss, a mustache bordering on the ridiculous. But according to Agatha Christie, it is this mustache that he is most proud of.

In the second adaptation, Death on the Nile, Hercule Poirot is forced to return to service as he returns to London. The sumptuous settings and superb photography highlight Egypt in the 1940s. And just like the books, the investigation takes place behind closed doors, this time with a cruise ship as the crime scene.

The first two opuses give pride of place to Hercule Poirot's past. In The Crime on the Orient-Express, we discover that the detective is deeply saddened by the loss of a loved one which we can discover in a framed photo that he carries with him during his travels. But it is in Death on the Nile that we learn much more. His past is clearly explained during a scene set during the First World War.

The first two films always had well-written lead and supporting roles for me. And I can't say what motivates Kenneth Branagh, but the casting is still almost 5 stars. But the other side of the coin, dnoces el snad todaG laG te sserpxE-tneirO'L ed emirC eL ruop peeD ynnhoJ: reirtruem ud semitciv sel tnos iuq serbèléc sruetca sel sruojuot tse'c euq tse'c.

A Haunting in Venice

The talk of a third film on the adventures of Hercule Poirot is happening even though filming of Death on the Nile is not yet finished. With the help of his screenwriter Michael Green, Kenneth Branagh had the idea of writing a ghost story, while drawing inspiration from Agatha Christie's short story “The Halloween Murder”. Short story with the original title The Pumpkin Festival. This short story was also the subject of a TV adaptation, featuring David Suchet in the title role.

But if Mystery in Venice is adapted from Agatha Christie's short story, the film by Kenneth Branagh is also inspired by a collection of short stories about the supernatural.

Critical

Kenneth Branagh's first mistake was not being patient in refining his script. Because if The Crime of the Orient Express was released in 2017 and Death on the Nile 5 years later, it only took a year for the third opus to be released. It's not much and you can feel it.

First on the character of Hercule Poirot. The latter seems to have the character erased of any characteristic such as arrogance. All that will remain is a worn-out gimmick that even Branagh is tired of playing: The perfect size of the eggs he buys. Weren't there other things to play with to get some semblance of personality? Even David Suchet did better for 6 seasons.

Brannagh plays a Hercule Poirot who leaves the viewer passive and uninvolved by the events happening on screen. We have the impression that he is more interested in demystifying ghosts and spiritualism rather than actually looking for the murderer. All the characteristics that make Hercule Poirot a colorful character seem here to have been erased from the protagonist.

As for the photography, it seems dull and cold as if a gray veil had been placed over the projector. Everything is a sepia yellow shade, with few opposing colors. All accompanied by music based on monotone violins and without richness of tones. Certainly to accentuate the tone of the work which is intended to have esotericism as its common thread. But this is too strong and erases the investigative side of the adventures of Hercule Poirot to shift the film into a genre that Kenneth Branagh cannot contain.

Mysteries in Venice also gives pride of place to dialogue rather than the brilliance which is one of the characteristics of the main character. But it's also because the film claims to be something other than what it should be.

Maybe the director wanted to distance himself from the genre, but for me it was half-successful.

L’article Mystère à Venise : Kenneth Branagh est fatigué est apparu en premier sur La Piqure de rappel.

Carrier start

Did you know that Quentin Dupieux and Mr Oizo are the same person?

Indeed, before becoming a director, Quentin Dupieux began a career as a musician at the age of 18 by designing a soundtrack for one of the short films that he sold to Canal +. From his meeting with Laurent Garnier in 1999, he signed with the electronic music label FCom/PIAS under the pseudonym Mr. Oizo.

He will start to be talked about for his title Flat Beat, a House track that sold more than 3 million copies worldwide. He will even be rewarded at the Brit Awards alongside big names like Jamiroquai, Chemical Brothers And Fatboy Slim.

Even though he has been directing medium-length films since 2010, his musical activity is still present, his latest single Pharmacist dating from 2020. He also sometimes produces the soundtracks for his films such as that of Steak.

Rubber

It was in 2010 that Quentin Dupieux stood out with his medium-length film Rubber. The film's budget is modest (8,000,000 euros) and the special effects are done the old-fashioned way without using digital technology (or very little). The scenario is not banal and this is also what will make Dupieux stand out:

In the Californian desert, a tire named Robert begins to carry out murders thanks to powers psychokinetics. Meanwhile, disbelieving spectators watch and comment on the misdeeds from afar. The local police investigate these murders, while the tire pursues a young woman to whom he is strangely attracted.

You will have understood, from his second film, Quentin Dupieux establishes his style. Juggling between absurd situations and dialogues to be taken in the second or even third degree, Quentin Dupieux does not take himself seriously in a universe in which only the characters find this normal or almost. Because when a father learns the news about his son, it sends us back to a certain criticism which finds Rubber without any interest. That's what I thought the first time, but I was formatted for a certain type of film that was calm and required reflection. Not having the necessary perspective, I stopped before the end, finding the film indigestible. But as soon as friends introduced me to Smoking makes you cough, I reconsidered Quentin Dupieux and Rubber which I rewatched recently.

In Rubber, there is the police who are invincible to bullets, a tire who watches TV and drinks milk spilled on the floor, spectators who are trying to poison because the characters want to put an end to the film... It's totally absurd but it works.

The assumed absurdity is Quentin Dupieux's trademark. I don't think there is anyone in France today who has a better grasp of the subject than him without falling into the nanardesque.

French cinema

After trying his hand at a few films in the United States, he returned to France with Réalité. And the director's tour de force will be to convince, from 2014, to bring together two headliners that the public knows well: Alain Chabat And Jonathan Lambert.

The following films will be of the same size in terms of casting: Benoit Poelvoorde, Grégoire Ludig, Jean Dujardin, David Marsais, Adèle Exarchopoulos, Bruno Lochet, Benoit Magimel, Léa Drucker, Gilles Lellouche, Vincent Lacoste, Raphaël Quenard ….and many more.

Over the years, Quentin has become a sure value for actors, someone who twists the pre-established codes of cinema, while making his films in record time (Rubber is only 15 days of filming with a small team). And this has become a signature, a trademark and the actors want to participate in this adventure.

But if it brings together a lot of well-known actors, it also manages to bring them back. In Smoking Makes You Cough, Raphaël Quenard had already played in Mandibles and other films before that. But until then, they were secondary roles, which only appeared for a few scenes. It was during the promotion of Smoking Makes You Cough at the Cannes Film Festival that everything changed for Raphaël Quenard. Seeing his potential and his particular phrasing, Quentin Dupieux had the idea of putting Raphaël in the foreground in the film he was secretly writing: Yannick.

Yannick

Raphaël Quenard carries the film at a height of 1.85m. It literally explodes everything in its path. Working 6 days a week, Yannick, night guard, takes a day off to relax. But given the poor quality of the play he came to see after a 45-minute drive, he is forced to intervene during the performance. A situation that never happens. And Sophie Denis played by Blanche Gardin will not forget to point this out to him even if Yannick is not entirely wrong. And it is precisely at this moment that the film goes into the absurd.

Everything will then come together very quickly with situations each more crazy than the last. Yannick as a hostage taker but who sympathizes with two spectators, Yannick who borrows a laptop from a spectator whose password is vaginal (yelled to everyone because the owner of the computer is forced to remain seated in his place ), Yannick who wants to change the dialogues of the play during the performance….

It's a succession of juicy moments and dialogues, but one that would make us uncomfortable if we were watching the scene.

It is therefore largely thanks to Raphaël Quenard that the film takes on its full dimension. And if Yannick is irrational in wanting to cut the piece along the way, he is just as absurd as a hostage taker. This is what makes Raphaël Q strong. Bringing into existence a character that we feel is alone, apart from reality, having little culture, while showing that his character is in need of recognition.

We must not forget Pio Marmaî and Blanche Gardin who perfectly interpret actors acting badly but convinced of the contrary, while looking out of the corner of their eyes at the audience in the hope of having their approval. Pio Marmaï plays a Paul who does not let himself be walked on and who wants people to respect his work, even if his acting is a little lacking in naturalness. Besides, Paul will quickly find the situation uncomfortable when Yannick comes to interrupt him, and will succeed after a while in getting him out. But things will change when Yannick returns to threaten the room and the actors with a gun.

As for Blanche Gardin, her character says she plays well, but is afraid of appearing like a puppet when she sees poorly written dialogue. The interpreter of Sophie perfectly plays the woman who poorly manages her stress in the face of dangerous situations and who suggests the unthinkable to get out of this mess.

This trio of characters make this film a little gem. Because even if Yannick's features are a little exaggerated, how can we not have empathy for a character who feels alone and misunderstood. And how not to put yourself in the place of the spectators in a situation that makes you uncomfortable, faced with an unprecedented situation and not anticipated by the play.

A completely understandable discomfort because everyone who has done theater, even amateur, does not like to see their work sabotaged in the middle of a performance. Because as Sophie says so well: “It’s not at all what you do.”

What the director shows us here by highlighting Yannick's demands is the fact of a world that aspires to something better, of characters on the verge of a nervous breakdown because the efforts that are made are not not up to expectations.

But that doesn't mean that we don't have fun behind closed doors, quite the contrary. Certainly Dupieux's most mature film. Film which could have been even more immersive if the film had been shot with a hand-held camera. The camera would have been justified one way or another in the scenario.

For my part, I am impatiently waiting Daaaaaali which tells the story of a French journalist meeting Salvador Dali several times for a documentary project.

L’article Yannick : Rire n’a jamais tué personne est apparu en premier sur La Piqure de rappel.

After pleasantly surprising us in his Triller Black Box , Yann Gozlan returns to us with a new film against the backdrop of a toxic relationship.

Visions takes us into a relationship between three people, including Ana who returns to Estelle's life twenty years after their separation. Very real nightmares will follow, thus destabilizing the normally self-confident pilot.

To be honest, when I saw the trailer and the title of the film, I thought that this was the new production of the company that had produced The cloud and which will be released soon Acide. Because the theme of visions is not often mentioned in modern French cinema, except that in addition, there was a scent of fantasy.

At the beginning of the film everything seems ideal for this couple living in the south of France, in a luxurious house. But very quickly, this life will be turned upside down by someone Estelle never thought she would see again in her life.

Just like Estelle, the viewer will be more and more perplexed and confused throughout the film, mixing scenes of fiction and reality. Estelle will be the first to be surprised to see how her nightmares become a tangible reality. The editing of the film imbues us with her thoughts and puts us in the same confusion as the main character, without us really knowing if this is happening inside her, whether it is due to a vision or even the result of fantasized fears.

Matthieu Kassovitz plays a man who tries to dissuade Estelle that this relationship will bring nothing good. His character loves his wife and is protective of her. For as long as they have known each other, he has been thinking that it might be time to have a child together. Guillaume will not change his position and will protect his wife as best he can throughout the film. Mr. Kassovitz's acting is diverse and shows another side of him in the nightmare scenes, without knowing if he could really be like that in real conditions. A very good role for Mr. Kassovitz who had already demonstrated his acting talents to us in the legends office.

As for Diane Kruger, we don't present it anymore. Multiple times nominated for popular films like Troy, the tiger brigade or Inglorious Bastards, this established actress of German origin plays here a character disturbed by her visions, gradually sinking into paranoia and despair. A character who, at the beginning, exercises diligently to stay in shape, and is very perseverant in her professional life.

In two respects Visions is similar to Black Box:

First of all, in terms of aeronautics. Both films feature characters working for civil aviation. In Boite Noire, he is the actor Pierre Niney who plays an agent tasked with investigating a plane crash. Here it's Diane Kruger as an air pilot. Yann Gozlan has a fascination with the world of aviation. He shows that he masters the subject from start to finish, whether visually or technically. All the plans presented in Visions on Airplanes are made so that we see grandeur and majesty.

Then, in terms of music or more particularly sound noises. In Boite Noire, it is the sound transcriptions recorded by the box of the plane which are scrutinized by the agent of the BEA. In Visions, two scenes in particular aroused my curiosity: While Estelle listens to a voice message made entirely of sounds, she manages to locate the interlocutor during the voice recording. Two situations with the same goal in two different films.

As for the last scene of the film, it completes the loop with the beginning of the film giving an air of fantasy, which will leave the viewer expectant.

In summary, Yann Gozlan succeeds in imposing an oppressive atmosphere, with the establishment of a toxic and destructive relationship, while putting us in the psyche of the main character. This tour de force, I have only been able to see it once until today, it was in The Father, which deals with Alzheimer's disease.

L’article Visions : Entre réalité, fantasme et fiction est apparu en premier sur La Piqure de rappel.

Robert Rodriguez is a director who will have had his hour of glory. Having won several awards with his short film Bedhead in 1990, he directed his first feature film El Mariachi who will be entitled to his continuation, Desperado. This film, with the main role Antonio Bandera , a mix of Western and action. It is in this film that we will see Quentin Tarantino appear in a cameo.

But Quentin Tarantino will not just make a cameo in the film, since a year later, in 1996, he will collaborate with Rodriguez, writing the screenplay for One Night in Hell and will even be one of the two main roles. Blending the horror and action genres, this film tells the story of two criminal brothers who take a family hostage. They will stop one evening at a bar for a break. But what they don't know is that the bar is the haunt of people with special abilities.

Rodriguez would later work again with Quentin Tarantino imitating the style Grindhouse in their respective feature films Boulevard of Death And Planet Terror. The two films have one thing in common, their style. Indeed, before the advent of digital technology in the 2000s, all films were shot on film. And it happened that this film aged poorly over time and showed signs of wear on the screen. It is this effect of premature aging that Rodriguez and Tarantino each reproduce in their films. A style that gives a certain character and authenticity that we rarely find in cinema today. This film is divided into two parts, the first being more of a heist film and the second part going into fantasy.

Rodriguez's career would continue to soar, and in the same style as A Night in Hell, with the adaptation of the fake Machete trailer into a feature film (2010) and its sequel Machete Kills (2014). Passionate about comics, he will also be at the origin of the feature film Sin City which is the adaptation of the comic strip of the same name, by Frank Miller.

It was at the time of these films that Rodriguez would display all of his genius. Subsequently, none of his films will be able to match this golden age when the director was full of ideas.

And that’s why I would like to come back to Hypnotic. This film is one of those that goes a bit out of the Rodriguez style to go down a path that doesn't usually resemble him. The trailers set the tone, and we could pretend to see an interesting concept in the cinema.

The film could have been a nice surprise if it hadn't been executed a little too quickly. Unfortunately, events happen much too quickly for us to have time to digest the explanations of the previous scene. Because there are many twists, sometimes a little too much, to the point that some of the dialogues which follow turn into ridiculous, perhaps due to the short length of the film (1h35), which does not allow it to breathe. It seems like some shots are missing.

Some spectators could therefore get lost in a labyrinthine story with many twists and turns and they must stay firmly attached to their seats to understand everything.

And to fully understand everything, you have to keep your ears open and your mind open. Hypnosis as we know it in life, supposes supernatural powers in this film. The way in which Rodriguez treats hypnosis with his rich universe certainly does not prevent the film from giving a sometimes naardesque tone.

As for the actors, we can find Ben Affleck And Alice Braga, as well as William Fichtner . Even if Ben Affleck's character seems to have a little depth, the roles of Alice Braga and William Fichtner were not entitled to the same treatment. Certain dialogues sometimes make them a little too lucid about what is happening (especially Danny Rouke) while leaving the viewer waiting.

It's a shame, because there was potential but it would have required more careful thought.

L’article Hypnotic : L’hypnose survitaminée est apparu en premier sur La Piqure de rappel.

Just after leaving Warner Bros to join Universal, Christopher Nolan had declared that his next would be a biopic about the man who invented the atomic bomb. Surprised, I especially had one fear, that the studio would impose its vision to the point of leaving no artistic choice to Nolan.

But the proof is that after leaving the cinema session, I was wrong.

Some will criticize Nolan for explaining everything to the viewer like in Tenet and Interstellar (remember the scene where we explain the glass holes with a sheet of paper), we cannot blame Nolan for making films with discount. And for me, almost all of his films are a success.

In fact, at the time of the release of Tenet, do a very long review on the subject in the form of an open letter. His mastery of the camera, the way he documents the subject, the artistic choices, but above all his absolute desire that his films will be released first in cinemas, and not on SVOD platforms. This desire and his values make him today one of the rare directors in the art of telling captivating stories and seeing it on the big screen.

It's for these kinds of films that I go to the cinema, but first and foremost because cinema is a real experience when you go to see films with strong symbols.

Following the end of his collaboration with his brother in the writing of his films, Nolan wrote and directed two films: Dunkirk and Tenet. Even if the latter somewhat divided the public by its complexity, this remains the only pitfall of his filmography. But if the film did not meet Warner's expectations, the blame should not be entirely placed on Christopher Nolan. We were still in the Covid period and the public was quite reluctant to return to theaters, lost and distressed by the restrictions made by distributors to access theaters (mask required, an empty seat between two people). The climate was not good. The climate did not calm down either when Nolan openly criticized Warner who wanted to release his productions in theaters and on HBO Max at the same time. This triggered the end of the collaboration between Nolan and Warner Bros.

His arrival at Universal made me say that the upheavals having recently taken place in Hollywood, Nolan's films were perhaps going to suffer artistically. The return of composer Ludwig Göransson on Oppenheimer after Tenet made me cringe a little. Although I don't know Ludwig Göransson for his work, I have to say that his music on the sci-fi/spy film is a bit garish and the least melodic of what I know.

Well here, in Oppenheimer, it's quite the opposite. The music perfectly shapes the scenes and accompanies the tense moments brilliantly. The editing is also to be congratulated, highlighting what is happening in Oppenheimer's head when the moment of the first explosion arrives.

It is also at several moments in the film that we see the thoughts of the father of the atomic bomb, through images of desolation on the consequences of his actions. Or the camera which shakes while staring at Oppenheimer, suggesting that Oppenheimer is terrified by its discovery and the use that may be made of it by the army. Although his colleagues are delighted with the success of their research, Oppenheimer is terrified by the results.

The film lasts three hours but never tires the viewer caught up in the scope of the story. Because, if for Nolan it is a question of telling the story of the first atomic bomb, he enriches his story with the personal and sentimental life of Oppenheimer, all sprinkled with politics and betrayal.

Many movie fans know Nolan for his interest in time. And once again, he surprises us and subverts cinematic codes. While in most films, black and white scenes evoke passages set in the past, here Nolan uses these colors to tell us the present. There are also three temporalities as in Dunkirk. But this time, without indicating when it is happening. This may seem a little confusing at first, but without letting our brain question itself throughout the film. Gymnastics is easy to do and you quickly get used to it.

We also know that Nolan likes practical effects, more than digital effects. You will have to buy the DVD or Blu-ray of the film to find out how he was able to realize Oppenheimer's visions, or even capture a mushroom cloud. An article from Allociné revealed how he proceeded with the explosion sequence.

As for actors, only Nolan and a few rare directors can boast of offering such a fine cast: Cillian Murphy, Émilie Blunt, Robert D Junior and Matt Damon in general seeking to achieve their goals at all costs and thinking in a very pragmatic way.

Whether supporting roles, all excel in their characters with the lead constantly having doubts about what is obsessing him. And as I said above, it is Nolan's staging which highlights all the facets of the different actors in this moment in our history.

Oppenheimer, until his death, regretted having invented this device of destruction. Through his dialogues in the film and real life, he says he is a destroyer of the world, so much remorse will eat him from the inside.

A biopic to watch, to learn everything about the first atomic bomb and its consequences on our current society.

L’article Oppenheimer, le destructeur de mondes est apparu en premier sur La Piqure de rappel.

Little surprise that arrived in theaters recently, The Lion. Film starring Danny Boon playing the title role of a supposed secret agent. I say supposed because we realize that at the beginning of the film he is followed by a psychiatrist who doubts the sincerity of his patient. Psychiatrist who is played here by Philippe Katerine

Seeing the trailer, I sensed something nice and that I wanted to see with this question in mind: Is Léo Milan really a secret agent or not?

But I still had one question that could dampen my joy: Philippe Katerine. I assumed the worst after seeing Gaz De France, the only film I had seen in which he plays (I haven't seen Le Grand Bain yet). This single cinema experience did not leave me with good memories of the actor.

About The Lion, I didn't know much, and I expected to see a film taking place largely in a hospital where a psychiatrist tries to untangle the truth from the lies about his patient with possibly a car chase to try to catch Leo Milan having escaped from the hospital and being considered dangerous. But that's not exactly what happened.

The film begins with an action-packed, well-paced sequence that makes our mouths water. That's it, we believe it, the French James Bond is there in front of us, with a Danny Boon in top form. But the rest of the film is not of the same caliber. Starting with Danny Boon himself, who after 15 minutes of film, comes out with jokes and expressions straight out of his sketches and his chti accent that comes to the surface at times. Which discredits his character and answers our question much too early: no, Léo Milan is not a secret agent. Too bad, because for my part, I would have liked to doubt him for a good half of the film, which would have had the merit of being interesting.

In addition, the passage in the hospital is short, but to better serve us and visit various places. And fortunately, because if in my first idea, the film had to take place almost entirely in the hospital, the film would have been very bland. It is in this sense that it redeems itself a little. Because the Boon / Katerine acting duo does not work and it is a little shaky. Boon pulls the blanket towards him and Katerine is disappointing. As I said above, Philippe Katerine does not leave me hot or cold, I could not be surprised by his “soft” and flat acting.

Humor: I only laughed on very rare occasions, letting out a smile from time to time. Situations that would make the audience laugh are poorly placed.

The film is still watchable, it's good entertainment, but don't expect the best film with Danny Boon.

L’article Le Lion : Un James bond français sous exploité est apparu en premier sur La Piqure de rappel.

This open letter review may contain spoilers. These spoilers contain inverted sentences. To read these reversed sentences, you can go to this site and copy/paste the text.

Goodbye Tenet and thank you Christopher...After having broken my head over the first session where I did not understand the second part of the film, my second session where I finally understood the concept of temporality and the third session where I was able to discover delicious details that I had not seen until then.

Your film Christopher haunted me for a good week during which I asked myself questions and only wanted one thing: to see it again. Watch it again to try to understand and see again what I hadn't seen the first time. Like a lack, like something I had never seen in my life and which demanded to be seen again and again. As if I had an inexorable need to dive back into your magnificent work, to see again this world that you have built. To fill in the memory gaps that I happened to have at the end of the session. I couldn't believe it: Christopher Nolan left me stuck at the end of the session with all these questions that remained unanswered.

You may not know it, but I'm a big fan of sci-fi and even more so when it comes to time travel. From George Pal's Time Machine, Army of the Twelve Monkeys, Déjà Vu, Back to the Future, Somewhere in Time and many others. Each of these films explores time travel but in a linear fashion. Each time, the character “jumps” in time, going from one era to another. You explore a hidden facet of travel through time and this is what is strong, transcendent and difficult to understand for each of us because we have never seen it on screen. This way of controlling time and reversing the course of events leaves me speechless. It's innovative and no one had thought of it before, at least in such a pronounced way.

The first time I saw one of your films was in 2008 with Batman facing the Joker. Excuse me if I didn't know your films before Batman. This was a revelation for me. You made a film that dusted off the myth of Batman, restoring the nobility of the bat, far from the two pastiche films of Joel Schumacher which, by the way, have aged very poorly. Whether it was Michael Caine perfect and classy for the role of Alfred or Christian Bale impeccable replacement for Michael Keaton in the role of Batman, I loved everything from start to finish. Nolan's Batman trilogy had a strong impact on me and I still consider today that they are the best superhero trilogies along with Sam Raimi's.

And since then, I have appreciated your films more and more, and it is only recently that I understood what drives you: the obsession with time. When we look more closely at your filmography, time is present every time, whether visibly to the naked eye or in subtext.

My favorite movie is definitely Interstellar. Because it was not only about space travel, but also about a man who hopes to see his daughter again once back on earth, but in despair at not being able to see her grow up and not being able to share moments with her. So many emotions for a film that made me cry because of the estrangement of a father and his daughter. His mission to find a livable planet was for a good cause, but at what cost...

After Dunkirk and Inception, I wondered what you would turn to. In January, the first trailer for Tenet arrived and I told myself that this was going to be a film that should not be missed because once again in a genre that I like. The first images made my brain boil. What were you going to tell in this film? So what is Tenet? Why do cars flip and drive backwards? you knew how to take care of your first trailer, so mysterious, leaving us waiting… I was hoping that this day would arrive to go see your latest film which was normally supposed to be released in July during my vacation. A little icing on the cake for me.

And then, there was the confinement in March in France. All businesses were closed until further notice with the exception of essential businesses. We could no longer gather around a drink, go jogging, or even meet up with loved ones. And cinema was one of those activities that was left on hold for an indefinite period. All cinema professionals wondered how they were going to hold on and what the economic benefits would be for them. Many films that were due to be released have had their release dates postponed or even canceled to arrive on streaming platforms to limit damage. This was the case for Forte with Valérie Lemercier (a very well-known actress in France) which arrived on Amazon Prime. This allowed some people to still be able to enjoy films that they should have seen on the big screen, but the cinema experience is not the same, and you will agree with me. I started to doubt the release of your film. But that’s without taking into account your pugnacity and that of your distribution partner Warner Bros, in whom you have trusted for many years. You knew how to cope and not postpone your film for too long. It would be a shame not to see it in the cinema, you who love cinema and do everything to ensure that your films are seen on the big screen.

Yes, I know you are someone who films the old-fashioned way, with no or very few special effects (300 special effects shots alone in Tenet, hats off to the artist) and with cameras that have certainly reduced in size with the time but are still cumbersome. I of course want to talk about your Imax cameras, of which you are one of the few to use them.

To return to the film, it is complex but intoxicating.

Your special effects are admirable where you tried as much as possible to get closer to reality without having to use green backgrounds. But like everyone else and you first and foremost, you said in the media that you cherished shooting in Imax and you are also a fervent defender of Imax. But you're going strong, using nearly 4,800 km of film to shoot Tenet in its entirety... you're very strong!

And you push the limits of intelligence of those who come to see your films. But once you get used to the frenetic pace of the film, you get used to it...after two viewings. Yes, because it's not easy to follow the logic of your film. However, I would have liked in the first half hour which resembles a spy film - We know that you like the James Bond franchise -, I would have liked you to be able to add transition scenes between the scenes where the protagonists travels from one place to another. It would have been easier to understand because I must admit that you shouldn't look elsewhere and get distracted.

You chose your actors well. The Pattinson / Washington duo is quite good with a John David Washington in great shape who plays a very classy and confident character in a suit and a casual appearance like James Bond like Sean Connery. The action scenes where he interacts like in the kitchen scene, hit the mark. You managed to give us action scenes worthy of interest. I say this because you have never been comfortable with action, proof with Interstellar when they fight on a white planet and where you preferred to give us a wide shot showing us the immensity of the landscape, which I admit it is a nice plan.

As for Pattinson, you knew how to direct him well, today I no longer doubt his performance as an actor and I see him very clearly in Matt Reeves' next Batman as a dark superhero.

I heard that your film lacked emotion, that it was cold. It's true that we don't know much about the characters and that they lack a little depth. Besides, quite a few people on social networks have imagined lots of theories about them like what titep tnaté linkN tiaté'uq tnafne'l tiares xaM. I hope you can give us an answer one day.

Still talking about acting, you chose Elizabeth Debicki to play Katherine. There too some say that it is cold. But I can offer an explanation :)? monerp nu rennod iul ed eilbuo sa ut iouqruoP( etsinogatorp el ceva ertnocner al ne resilaer es ever nos riov ed riopse elbiaf nu ceva erapmesed te eessialed emmef ed noisserpxe ettec uo'D .slif nos ceva eriaf el ed eedi'l rennodnaba srola tu af iul li ,eiv erporp as erviv te iul ed erebil erte tuev elle is euq euova iul te egatnahc ud tiaf iul rotaS ,ayoG ed ocsicnarF xuaf nu retehca tiaf riova iul ed esuccA .rotaS euqragilo'l iram-xe nos ceva euqixot noitaler enu a enirehta K

Ahhh Michael Caine! your favorite, the one you feature in all your films (or almost), even in The Prestige which I highly recommend to those who talk to me about you. They don't all know it, but it's a good film. And this little tackle from Mike in the film Tenet, towards the protagonist and his clothing, a hell of a moment. Even if he doesn't appear in the film for long, Michael Caine always remains a little nod to your other films.

As I was saying, the film is a real visual gem in this way of filming reversed time, of making the impossible possible. That's what I would remember first. Your visual effects take on their full dimensions in the last act of the film where it goes quickly and until today I have not yet fully understood the importance of the scene in its entirety.

One last point, the music: I found it quite far from the compositions that I am used to hearing on your films. Some dialogues like in the Free Port are inaudible, and I thought this was normal. But when I saw the film in original version, I was surprised to see these scenes with subtitles. I assure you, all the other dialogues are perfectly understandable. Too bad Hans Zimmer was taken on to compose the music for Denis Villeneuve's new film: Dune. So you choose Ludwig Göransson, known for his compositions on Creed II and The Mandolorian series. So, yes it's surprising at first viewing, we have the impression that the music doesn't fit the film, that it lacks emotions, relaxing moments. It's really a shame but you get used to it with time.

In short, to finish, and despite the people who said that this was your worst film, I remain and will remain faithful to you in your way of telling the story of time and its derivatives. I'm sure that with time and the release on DVD and Blu-ray, people will know how to glorify your poorly understood film.

I can't wait to see your next film and see what you have in store for us.

I'll see you soon and continue to write stories that make us think.

L’article Tenet : Lettre ouverte à Christopher Nolan est apparu en premier sur La Piqure de rappel.

Who has never reviewed their family album? Who has never tried to find old videos of significant events in our lives such as a wedding or a birth?

These events are an integral part of our history which, when we look at them as adults, we say to ourselves that those were the good times, the time of innocence, of the first kiss….

Coming out of the screening, I only wanted one thing, to turn my computer back on and rewatch the old films made with my camcorder, the video quality of which is more than questionable.

Play is a film that talks about a generation of teenagers who will experience good times together for almost 25 years

The film mixes fiction and realism perfectly and reminds us at certain moments that we experienced the same things, like the 98 World Cup or the transition to the year 2000. And I must admit that after 30 minutes of film, I was completely transported, surprising myself in laughing at the same things as the characters without really knowing why (and even though I had not experienced them with them), quite simply because I found these moments of great sincerity. But I also had my moments of emotion, with a finale which allows the central character to be able to make up for lost time.

The film is generous and will pull on the nostalgia cord without ever overdoing it, with little nods to significant music or films. It should also be noted that the staging is very faithful to the three eras covered by the film, the camera being an integral part of the film and its recording quality increasing over time.

It's one of the best French films I've seen since almost La Famille Bélier, the kind of film that you want to share with everyone like I'm doing here, because it's so rich in emotion.

I recommend this film which will give you joy after the screening.

L’article Play : Un vent de nostalgie souffle sur cette comédie Française est apparu en premier sur La Piqure de rappel.

“Ken Miles pushed the limits of his car more and more, now exceeding 6000 rpm. He knew he could pass the car in front of him without any fear. But would the car resist the behavior of its driver and, above all, would it not explode in flight? it was the crazy idea that Miles absolutely wanted to do for this man passionate about mechanics and racing cars, knowing every nook and cranny of the car he was driving...

– “Come on Cocotte….go ahead my cocotte…I know you can do it….show what you have in your stomach!” » he repeated to his car with whom he spoke as if he and his car were one.

Warning: Some passages may reveal part of the story

You will no doubt have understood that the film that I am going to talk to you about inspired me a lot for this review. It must also be said that when I was little, I watched the Formula 1 grand prix on Sunday afternoons in the living room with my father. It was at the time when Alain Prost was world champion. And that's what kept me sitting in the chair was seeing a Frenchman compete with the big teams, a national pride for me.

A few years later, I discovered the first car racing video games like Vroom on the Atari ST. It was simply crazy, being able to put yourself in the place of a Formula 1 driver, doing everything to overtake the competitors and arrive first, seeing the scenery parade in front of us, and above all, this inimitable engine noise specific to the cars that transcended us just to tell us that we were sitting in a real car ready to face all kinds of challenges…. A real treat for both the eyes and the ears. A shared treat with my father, who I still suspect today of playing this video game in secret. Vroom certainly means a lot to my father who is a retired mechanic today.

A little later on PC, I discovered the Need For Speed games. In another register, we had to outwit the police, change cars and improve them, arrive first on the finish line…. A fantasy that had become reality, at least in the virtual world.

In terms of cinema, I discovered films on the subject of cars late in life. Starting with Michel Vaillant, a film which speaks to us a little more, since part of the film takes place on the Le Mans circuit like….Le Mans 66 (or Ford VS Ferrari in original version). It always results in a dynamic film and I like the

And when we talk about spectacular films, I can't forget to mention the Fast And Furious saga popularized by the late Paul Walker, a little darling of his ladies. Although considered by some to be "stupid" films, I can't help but have this guilty pleasure of waiting each time for the last of the saga to come out in the cinema, even if a Fast And Furious film without Paul Walker, it's no longer really a Fast And Furious. But that's not the topic of the day.

What interests us here is the last film by James Mangold, the same one who directed Logan a few years earlier, which I loved and who restored the golden image of the X-men films.

And as you may have guessed, movies about cars always interest me. So it was with a certain interest that I went to see Le Mans 66. And when I saw who was playing in it through the trailer, I could only be satisfied with the casting. Mat Damon and Christian Bale, two famous actors who no longer need to be introduced since one became known with the Jason Bourne saga and the second who played in several Christopher Nolan films such as the Batman saga or The Prestige which I recommend to you.

This film is so rich and generous that once I left the theaters, I rushed to my smartphone to note down all the details and not forget anything of what I had seen. Because yes there is a lot to tell.

Starting with a very careful production done the old-fashioned way without I having seen the slightest CGI and even if there is some, it's really sparingly. And this is what is visible at first glance, from the environments or even the cars, everything is real and you get what you pay for.

I will make an aside precisely about the prices of cinema tickets. While today these same places cost around 12 euros in mainland France, it is always wise to choose what you want to go see, even if according to a study that I saw a few years ago time only 15% of people would pay full price for their cinema tickets in France. And we cannot pity them as the films that come out are for the most part films that take the spectators by the hand and do not pay homage to their intelligence

And that’s where the strength of this film lies. Resembling more of an art-house film due to its quality, we are drawn into the story of the two characters played here by Christian Bale and Mat Damon.

Both actors are simply perfect in their roles. Bale hiding behind his character to the point that we forget the actor. We already knew the actor for his physical transformations and the way he blends into his roles, but here it is astonishing.

The latter plays this father who is struggling to make ends meet with his garage, which he will end up having seized for lack of money. As for his wife, she still remains worried since he has a hard time hanging up the wheel and would like it to be a more relaxing job for her. And when Carroll Shelby (played by Matt Damon) offers her husband to work for him, she will see it as a financial relief but afraid that he will drive his cars at crazy speeds again. But she will still be proud of him when he starts winning races.

Matt Damon plays a former driver who becomes a manufacturer by creating Shelby American Ltd. Ferrari having rejected Ford's takeover advances, Ford will approach Caroll Shelby so that he can build a car to compete with Ferrari on the asphalt. This is how he will approach Ken Miles to test and optimize the car in order to prepare it for the 24 hours of Le Mans. The role of Caroll Shelby is also an interesting character due to her proximity to Ken Miles and the sometimes tumultuous relationship they will have.

One senses very good writing of the characters with their weaknesses and their strengths, with on the one hand somewhat tumultuous relationships between Miles and Shelby, Shelby doing everything possible to keep her sidekick in the race with the risk of seeing his career fall like a house of cards if he does not comply with the demands of the Ford boss.

The film is also focused, as I said above, on the rivalry between Ferrari, which at the time prided itself on being the unbeatable manufacturer on the circuits, and Ford having difficulty breaking through. The Ford boss is portrayed as a relentless and tough business leader. For its part, Ferrari is represented by its slightly arrogant leaders and we only have one thing in mind: to see them get knocked down to steal their victory. I nevertheless found the Ford leader a little caricatured in his position as boss, but it is also to better color the characters of his two rival manufacturers ready to do battle on the track.

My second impression of the film apart from the characters and this impression of speed during the races. It goes quickly and the camera is dynamic as ever. We enjoy its tight shots or inside the cockpits putting us in first place, that of the driver. I have often vibrated in my chair at the sight of a gear change or the roar of engines, triggering an auditory orgasm in most men who are passionate about mechanics.

The film has humor and it is largely thanks to the two main actors who knew how to play on the difference in the character of their character. We feel a real bond between the two. Basically, it's mainly them who carry the film.

No, I have nothing to criticize about this film which grabbed me from start to finish. I think it would be very nice to see it in a 4DX room, these famous rooms where the seats move depending on the action.

It is therefore to end this review which is already three pages long on Word, that I would say that it is surely one of the most beautiful films that I have seen this year and I recommend that you go see it just after Joker, of which I promised to do a review and forgot.

And don't forget (as EA Games says about the Need For Speed games), speed is on the circuits and not on the roads, the pleasure will only be increased tenfold with this feeling that no one will come to you prosecute for speeding.

L’article Le Mans 66 : James Mangold va à toute allure est apparu en premier sur La Piqure de rappel.

Nevertheless, this self-taught director has always had a place in my cinephile heart. Quite simply because each film he directs is a little gem of writing.

Due to lack of impartiality, I was not able to write a review in time, but Valentin Lebfevre, known as ValWho, managed to transcribe roughly the effect that had on me Once Upon a Time In Hollywood when I left the session.

L’article Once Upon A Time In Hollywood : Tarantino à son top est apparu en premier sur La Piqure de rappel.

It was when leaving the theaters before the end credits began that I wondered in which direction French comedy was going... Because this film is truly a one-man show in which we have the impression that the dialogues were entrusted to actors like Jamel Debouzze or even Kev Adams who are freewheeling, coming out with jokes that constantly take us out of the film.

An example among others: Eric Judor brings it back in the film by explaining to us in a scene that if his magic lamp is so easy to heat given the space, it is because EDF granted him reductions on prices to thank him for having made advertisements for the company... This is the typical type of dialogue that we find in the film, taking us completely out of the context of the film and waking us up from a nightmare that the we watch on the big screen.

And some like these, there are some great ones, like at the beginning of the film where Kev Adams' character is trying to find the secret word to open the secret room, and suddenly he remembers that it's probably Instagram . The film could have taken place in any era and it would have been the same. Speaking of time, the first third of the film is not bad in this sense: We go from the time of the discovery of the Americas (Gérard Depardieu reprising his role as Christopher Columbus), to the time of the musketeers . There is even a scene where Judor and Adams teleport into the middle of an African tribe and who do we see appear? Frédéric Lopez as he appears in his show “Rendez-vous en terre stranger”…. Winks like meta humor but very heavy. Ahhhh I forgot: the two famous rappers Big Flo and Oli with their caps screwed on their heads... this film therefore has no respect for its time

The plot of the film is based on a metro ticket, and all around you have humor, humor that only makes kids between 5 and 10 years old laugh...well let's go up to 14-15 years old for Kev Adams fans . Kev Adams who is not at his first failed attempt since we remember the controversy over “cool rape” in Gangsterdam…

There is something that intrigues me...how can we take spectators for idiots like that? How can people pay sometimes high prices (although in France only people pay full price for their cinema tickets) to see such a bad film? certainly not for the story but I think more because their favorite actor is in the film. But what a catastrophe for this young generation of spectators to see films that do not respect their intelligence….

When I went to see the first one in preview, we had invested a lot in filming locations and special effects which, let's admit, are sorely lacking in French cinema for the general public. So I told myself that there was hope of seeing a good comedy there. With hindsight and the preview atmosphere has subsided, this first film about Aladdin remains average with a very French humor if I did not take the film at the first level but at the 2nd or even 3rd degree.

Nothing justifies such offbeat humor here. But we can't be surprised when we see that it's the same director who shot a film that I didn't even go to see: The New Adventures of Cinderella. The latter whose trailer I found distressing due to its overly offbeat humor which pushes “the Aladdin saga” into mediocrity.

Don't go see this film, it's two hours wasted, two hours wasted and around 7 euros that you could have invested in a good pizza, because yes the film is not even worth a pizza

Well…in the meantime, I’m going to go see what’s good about Alad2 tonight….

PS: that one was easy…

L’article Alad’2 : Le film d’entre potes est apparu en premier sur La Piqure de rappel.

There are many films and documentaries that talk about the most famous couple living in the White House, I of course want to talk about the Kennedys. We all remember Oliver Stone's excellent JFK, a film/documentary lasting almost 3 hours which put us in the shoes of the New Orleans prosecutor, Jim Garrison (played with panache by Kevin Costner), investigating the death tragedy of the aforementioned president.

Jackie could have been the sequel to JFK , as it looks in some ways like a documentary but isn't one.

And the first important point to support this thesis is the image format used to shoot the film, reminiscent of the super 8 film format used in the 1960s. This format is quite small compared to the formats used more recently (2.35 or the 70 mm format used in the latest Tarantino, The Bastard 8).

Second point, the use of video filters and the use of black and white used in certain scenes, making us believe in TV archives.

Third point, certain scenes where we see Lee Harvey Oswald (the same one having denied having shot the president) on TV being shot down by a sniper. These scenes broadcast on TV are the true archives of American TV.

With all of this, the film could have gotten away with it if it had been directed, by someone like Oliver Stone. Unfortunately the whole thing is a little boring, bogging the audience down in an hour and forty minutes of melodrama, to the point that one wonders when the torture will end.

There isn't really any energy in this film, and even if the story doesn't really lend itself to it, certain moments would have gained in perspective, in relief.

To console ourselves, we can admire the casting that closely resembles the presidential couple, I am thinking in particular of the actor who plays JFK.

L’article Jackie : Oliver Stone n’est pas qui veut est apparu en premier sur La Piqure de rappel.

Film almost entirely produced by the Chinese, the only distinction that can be made with Hollywood cinema is the presence of Matt Damon and the Universal logo at the very beginning of the film which is there to justify the distribution of the film in the United States and in Europe.

The film takes up one of the legends that revolve around the Great Wall of China.

We can clearly feel Chinese culture poking its nose out in the film through its costumes and also the staging, but not only that.

Some influences to note though: Lord of the Rings and World War Z and maybe others I haven't mentioned.

The scenario is not very complicated, if not a "crazy" scenario, but we let ourselves be carried away by the story without asking ourselves a thousand questions at the end of the screening.

The film is just a big blockbuster like the others, a little bland for my taste. However, the visual aspect remains very successful.

So to sum up, a must-see for Heroic Fantasy fans, Matt Damon fans, those who like special effects, and without judging those who like this film.

After all, this is just a personal opinion.

L’article La grande muraille : Matt Damon en chine est apparu en premier sur La Piqure de rappel.

A monster calls is a film that deals with the difficulty for a child to face a unique and traumatic event, the difficulty in putting words to insurmountable pain.

We have experienced this type of situation or will inevitably experience it one day. The more we are seasoned with this experience of life, the more we have “tools” to cope… And it is during childhood and adolescence that we confront for the first time situations like those of Conor O’Malley .

The film is touching for its poetry, for its dramaturgy and other things. A very beautiful parable of life and childhood trauma

L’article Quelques minutes après minuit : Se confronter à la dure réalité est apparu en premier sur La Piqure de rappel.

I had seen the trailer and I found that the jokes were not very clever. To the point of being distressing, making fun of certain faults like the high-pitched motorcycle biker voice. Joke and failed bets, this should have been done in a more subtle way. But this is not the only joke of this kind.

We can't say on first reading this trailer that the character has matured between the two films. Certainly a writing of the film surfing on the nostalgia of the first without any real innovations. Yes because the film should have been more thoughtful, especially when we see a grand guignol like Jean Dujardin having taken the bottle and still playing the role of a 12 year old kid in the body of a fifty year old adult, it's not very credible, it looks fake and above all it ruins the film. It just looks like a newbie.

He may have had fun making his film but took his audience for a bunch of brainless people who don't respect themselves, believing that people haven't grown up between the two films.

L’article Brice 3 : le film qui casse les spectateurs est apparu en premier sur La Piqure de rappel.