sherko

Mysterious Skin tells how two sexually abused children strive to exist at the time to become young adults. Brian (Brady Corbet) has developed a psychogenic amnesia in order to preserve the horror yet it seeks to elucidate. He knows he has known two evenings of black holes that have troubled and never leaves him a nosebleed. It's more complicated for Neil (Joseph Gordon- Levitt), where Araki focuses most attention, since it young lost in the redneck and not too exceeded expectations (he managed to flee to New York but know that it will not fly more), has a very precise memories of the experience... and did not return to find nothing to match the feeling of being awake too fast without being able to be satisfied.

In both cases, a childhood and life was stolen. For Brian, it is an eternal punishment he did not deserve. He is forced to contemplate their symptoms or have his crushed by viewing the acts forced consciousness. For Neil, nothing can ever be the taste of this... paradise lost. It is monstrous, shameful. It should be a victim, there is one, but he regrets above all, this is the secret love affair that would have dreamed cause. Who came to him for initiating and exceed his fantasies. What is left to be desired after ecstasy consumed ... Since then, he prostitute for old gentlemen, it appears casual, cynical and waterproof.

Araki addresses a voluntary extremely sensitive subject (pedophilia and its impact) so, bold, delicate too. There is (and this is rare) no moral reading, but a complete perspective. Mysterious Skin does nothing passes in front, it looks and it shows not say anything else. The film seems indifferent to taboos, therefore it exceeds. Its predator is primarily a selfish spinning a story of love irresponsible. This is not the vice that grows, but the desire and painful, a sincere affection, not interested or volatile. The connivance of Neil and commitment are still disturbing.

Gref Araki is an independent filmmaker based in a high color representation of homosexuality. This book by the adaptation of a book under the same name, who upset and he has decided to run with solid experience and '' at the end of a period '' trash and insolent where the feelings, intimacy, despair, were not embodied so much of accuracy and smoothness. There is no less reckless either. The happy contrast to this approach missionary is lyrical and dreamlike digressions peppering the film. This focus makes it even more misleading, however this style, this intense purity of Mysterious Skin are a meditation on the rejection and nostalgia for innocence heartbreaking. The climate is both perfectly realistic (perfect descriptions of daily life, perfect capture the social dimension not yet go to chronic) and totally psychic. A kind of sensuous mysticism handles captivated us. An odious reality appears to us and translated in the wake of the deep meaning prohibited sympathies (especially that of Neil !) or ridiculous condition of adult face our secrets, our burdens and dreams.

If you do not like from " sordid " and "great", even underestimate the critical judgment, Scrapbook is a party. Story of a kidnapping, Scrapbook shows Clara held hostage by Leonardo, a serial killer holding a diary where he retains memories of his exploits. It will be also write Clara, forced to explain his feelings.

This small underground film has a well-defined camp, one of the trivial horror and first degree. It is perfectly (obnoxiously!) realistic, justifying the transition effects and mounting clips very heavy (the monologue of a guy behind the door of a room ravaged). All alternates dialogues, in which Leonardo is particularly expose his philosophy of common and retarded social critic, and set pieces where Leonardo engages in humiliation, exploitation or torture of its prey.

Scrapbook could be a simple torture porn to August Underground, but not only does it overflows is at this point in the violence and especially it goes beyond, thanks to its style and general line. The film is distinguished by the unique texture of the image, but also the intimate atmosphere, the side found footage and focusing in the house of the executioner (one just out in the garden). It focuses on the performance of players and maintains focus for Clara, staying close to his emotions - which is not common in this kind of production.

Although this is the seventh film of his author, Scrapbook is in the form of an amateur shooting, which has the gift's repugnant and strengthen its sensational dimension. However all may seem outdated in its desire to shock or induce discomfort (we see slightly grotesque scenes, like the confinement of Clara in a bucket for several hours). Redundant soundtrack to tunes cut with a chainsaw tends to highlight in vain towards the trash clip. Add to that a pure and simple (pathetic) pornographic sequence. So it's macabre, but not so bad that it gives to the air/the look, Eric Stanze and his team wanted to make a terrible movie, they succeeded, but they mostly elicit disgust and boredom tip.

Appreciated by networks independent cinema and B' movies, Scrapbook remain extremely confidential, except perhaps for very experienced ultra creepy fans. So for the fans of film grimey. There is no interest and if those who have not seen it have nothing to do with it (although you can bet they will hold up once the " shock " of past climate). The few spectators speaking on the Web, rather inclined to join, are generally very well appreciated.

There is a film about the triumph of chimeras and that's him. In its topic, in his story, but also in its genesis and development, Fitzcarraldo is an affirmation of the omnipotence of dream, love a crazy vision above all, mastering the elements. For two and a half hours, Sweene Brian Fitzgerald (Klaus Kinski) imposes on others and Nature his plan to build an opera house in the heart of the Amazon.

Credo statement: " Only dreamers can move mountains". A notable calls it "conquistador of the useless" moniker entirely appropriate. With his head of dumbfounded pigeon and missionary illuminated Kinski is perfect in this role reminiscent of Aguirre, where he was the dictator of an empire to build. This time, no disappointment or hatred, but the victory of imagination on empirical evidence, and a success in reality, not of those who have only ethereal value and remain at the stage of speculation or higher ideal witness.

Fitzcarraldo the film itself is so successful, because this boat wandered in the Amazon, pulled by giant blocks, crossing the river and hostile land with the help of the Indians and convinced Herzog took. The German filmmaker refused tricks and models to accomplish this journey, so that the viewer is at the forefront of a challenge. This is a physical, carnal evidence. And one feels also sweat, risk and faith necessary to accomplish the dream. We see the reward (the exploit), but even better, we share the path y (awarded the Prize for Best Director at Cannes 1982). And satisfaction is not only in order, it is also in passing and the unrestrained power of our forces to this end. Or the art of being a devotee of his vision, illustrated by Herzog.

We think also to a Lawrence of Arabia will not resign. The price for getting there may omit his conscience or direct enough to never perceive its vibrant neuroses, in order to remain in a state of drowsiness volcanic. Fitzcarraldo is a free man, who has not renounced the omnipotence which dare not delude ourselves that the newborns, dictators, wealthy folded or crazy. This particular propensity (fantasized by Werner Herzog and honored, but deliberately calculated, otherwise visionary) is shown in all its facets, including a blind man and a cheerleader little stifled by scruples. Supported by the Indians, he became a marshal but does not realize it, too absorbed in his purpose. It is at best functional guide to the benevolent neutrality, but the natural focus for his men. His mind is not there, it is only for his chimera.

In addition this compulsion to disregard the limits for any individual, even the most trivial things in his life, we also see the entry force of the opera from the opening scene. Will also be seen in the whim of the upper bell of the church where he shouts his ambition taking the city to witness. This is a man who betrayed his condition and wants neither could stop, and such as the manifestation of the human will is a fundamental virtue, we follow. There is nothing worse than a life without prospects, where the fate turns you back ; he outpaces and causes him. With excessiveness and total involvement.

Last - born of the imagination of the writer and producer Ryan Murphy, which must already Nip / Tuck and Glee , the series was the UFO service in autumn 2011 . Shaped according to Murphy 's childhood memories and refined by heavy moviegoers references (mostly classical way Rosemary or psychosis , but Bunuel ) , American Horror Story revisits the big fads of American horror in a colorful atmosphere , ultra- violent both graphically and by the structure of his narrative. It presents itself as a giant ghost train which spilled visions furious , sometimes on the edge of nonsense (especially during the first season) and the failure to mimic depth. However, with time , AHS let forth its key characters .

Memory Couch , American had rarely seen such an outburst in prime time . Despite his flirtations with the aberration, American Horror Story is a dramatic series , triggering laughter and fear. This unlikely meeting of Twin Peaks, Tales from the Crypt and Charmed caught by the neck and never let go of us , sometimes we tell trivialities , often exposing his exploits , always multiplying its surprising potential for addiction.

Season 1 : Murder House *** ( 3sur5 )

Pitsch departure : the Harmon family moves without knowing the house of horror. Very quickly , the supernatural into his daily , neighbors get involved and eccentric crowd out as their new surroundings , while Ben , Vivien and their daughter lost all their bearings .

Ghosts and neighboring invasive though flesh and bone ( Constance and her daughter ) and wander around the house , nose and beard new owners completely overwhelmed and do not measure how their privacy was deflowered - up steamy sessions with a man in latex Viven takes for her husband.

Extremely chopped and speedé , sequencing faces , especially when pilot episode ( the most childish of all) , the rhythm is characterized by a very peculiar stretch a stable stage of a two-minute failure , linking with precipitation and accuracy of key moments and shocks, like a trailer to extension . This choice , however, is treacherous enough that impulse that feeling "roller coaster" the most beautiful effect , helping to build AHS maelstrom loud and generous.

It was only around the last - third of the season (12 episodes) that the plot takes its time , working the mystery and complications tightening the frame. This new situation creates a more subtle satisfaction. The establishment consumed late Murphy took the cards then giving , in addition to the effect - bulldozer delectable flesh and lacked sensitivity . The avalanche of surprises and set pieces , the series moves to the cymes of politically incorrect and committed foolish misunderstandings across the parade of horrors.

Season 2 : Asylum *** ( 3sur5 )

Complete metamorphosis : we spend the cursed house to an earlier story in the 70s, which are found most notable characters . Murphy is even more reckless but also ambitious , displaying pretend to stir the demons of America, with the collusion of sadistic and his homosexual lover and other oppressed characters psychiatric and religious institutions ( mixed couple ) . Extensively relayed through its progressive facade , posture , however superficial, good to impress too willing souls . The real success of Asylum is in its effectiveness and openness , it introduces esoteric elements ( demonology ) , even to summon aliens and pranks complotistes (criminal Nazi reincarnation of Anne Frank ) .

Grand guignole and scabrous , Season 2 abandons the brutality of his sister mounting side and boasts a more honest narrative, but not less exploded . The story is more subtle , grown strangeness and baroque aesthetic characteristics of places . However, again , the first part of the season, passed a sensational introduction is quite irritating , overloaded and paradoxically still, even leading to boredom in a real " depression " in the middle of the course. Subsequently , investigations Lana Wintour (asset and glam icon set ) , the ardor of Sister Eunice and psychological reversal observed by all characters dynamite program . In his defense , AHS has been too demonstrative on points of detail improperly recycled ( Dominique -nique -nique ) , his irony markers are never so good as when they come from the mouth of his cohort of witches.

Jessica Lange

This is the flagship of the series, his most consistent and most importantly, the toughest problem. Paragon of wickedness and cruelty sophisticated , jukebox pessimistic thoughts , half- whimsical mid- soured , Jessica Lange won the Golden Globe in 2012 for Best Actress in a Supporting Role Television . She first appears in the guise of Constance , a rentier responsible for its old girl with Down syndrome , a burden which it adapts with voluntarism but hide him his episodes of doubt and disgust. The character is revealed gradually from the status of new Patsy Stone indiscretions to reveal his humanity , his capacity illuminates the series and supports its passage from the hysterical confusion orchestrated chaos .

As the engine is confirmed in season 2 where she shares the " leadership " with Sarah Paulson . Transformed into a strict mother superior of institution, it is aggressive and obsessive . But this new form for our executioner Slip is again a neurotic mask. Contrary to Dr. Thredson or Dr. Arden psychosées whose personalities are as wobbly as tortured, Sister Jude has an extremely complex and coherent profile , which it displays all facets. Missionary misguided generosity hidden and willingly ambiguous (" mental illness is a modern way to explain sin" ), it goes to hostage ragged fatal and public agitator woman joining the parade grand guignol without being reduced to state trash pawn that threatens almost all his acolytes .

Season 3 coming

No surprise given the echo triggered in the United States , AHS plays extensions : fans jubilant bad taste only have to wait until the beginning of October . Here is the enigmatic first trailer presented a month ago and while the new season is still in location:

The filmmaker Dusan Makajevev is one of the notable figures of the Yugoslav Black Wave , a movement critical , pessimistic and most incendiary of 60 - 70s. His film Wilhelm Reich - Mysteries of the body, probably the flagship of its kind, was forced into a prolonged exile until 1988 and the fall of the regime. Three years later (1974), Sweet Movie, shot including Canada, but also in France and West Germany , thwarts new censorship like its predecessor, it is banned in many countries for its nature scenes sexual and violent.

Film dissident

Two major areas in Sweet Movie : one in the U.S., second to Paris , ideal for the most total disinhibition , as everyone is presumed to know. A Miss Canada performed by Carole Laure ( the role will continue , including the final scene of chocolate bath) is elevated to Miss World after examining her hymen by a billionaire, and some will see this as a premonition of reality show obscene. He approaches the elected but his face intrusive manners , she fled to France, another place of fantastic adventures or servages not saying their name, it depends.

The premise of Sweet Movie : show but claim parody. Finally, remove the mask and assume ! There are a hundred thousand ways to say, this one is the most direct : Sweet Movie behind social or ideological denunciations to practice experimentation trash. This mask is disturbing in this context because it is a convenience for the regression piling infantile provocations pushed to completion.

Sweet Movie is a pure film hippie, libidinal cross was tolerant than logorrhea, in this context, its nature general mess is consistent because it is an expression of courage and victory of his impulses , against all formal oppression browsing minds. He also repeats the slogans of 68 (" realistically ( peers) demand the impossible ") and simultaneously denounced communism misguided to fallen ideal (the Communists from the outset seen Mekevejev an enemy, reason), and liberal capitalism, maintaining a parallel with the two, as each interacts with the triumph of the trivial, both collector, promoter and initiator. Overall, it fits in perfectly with the atmosphere of the 70s, both wild and desperate, aggressive and exalted : in all cases, or transgressive protesters, and particularly marked by sexual liberation generating specimens without equal in depravity or taste of scandal.

A shameless movie

After the first half hour , the film in complete abandonment and rotating in the field degenerate with blasphemy to all floors to dispel the little Catholic girl imported. Mekevejev dedicated to a rise in non-conformity and anti- obsessive control. It is also a rejection of idealism and aspiration to truth .

The sequence table, where the characters spit on or puff like pigs , reflects this inability to move beyond the dissipated child, which is the climax in the most crass vulgarity and spontaneous , but also the rejection of this comes as the inner inspiration external regulations. This is a link to the object and impulsive sensualist , hating anything that might make sense.

The dissent in the common morality is ultimately to accumulate as non- governmental animals, as vain and stupid as defined exclusively by the external object and the most obvious heaviness of the human condition children.

This is not a rebellion. It is a refusal to leave the native layer and symbiotic liquid within which we could float near the droppings of all kinds while being deprived of ourselves, simple balls of flesh and manufactures festering dung in the harmony and omnipotence of unconsciousness exalted .

It is what it is these hippies : zombies, but zombies libertarians. Sweet Movie explicitly reveals this focus on the childish stage with an entire sequence where a man is considered and pampered like a baby. The attitude of the "liberated " troupe (though chained to the fat they love and trying Mekevejev which believes find the final release ) contributes to situations evoking Salo and effectively , posture libertarian hippie uncompromising to suit anarcho -communist led to the same fascination and practices as cherished in secret by the fascist left to their pathetic and farcical instincts - but these had a scent and not a monstrous sensuality normal , they were adults adults too .

Film shit

These coarse critical postures, removable in an instant, are the putrid lures a dissident who has chosen the path he attributes to its theoretical enemies ( the alienation of capitalist and communist models) introducing pictures the Katyn massacre (item Godwin just ) in the middle of eroticism putassier this filthy cartoon character truiste and pathetically pedantic . Makavejev wanted to paddle , at best , he accepts and welcomes the disintegration because the temptation of evaporation is the strongest ... and maybe even one that motivated all his fights.

This is the silly prose , registering outrageously , even with a competitive spirit in the provocation, in the tradition of renunciation to any affection for man and civilization, cherished pests of all kinds. The Taste of Chaos is a natural thing , it is also involved in building works of art free from all limitations. But celebrate this trend, mimicking the worst ironic reflection to better afford to embrace , it is that after a dream of the most feverish minds. Sweet Movie may be anti -capitalist and anti -communist , he is especially true, anti -fascist , because everything he perceives as standard is an alienation , so one -ism ( and fascism is most heinous of -ism ), while the love of the wildest impulses and outweighs any other form of reality. The only fascist tolerate it , the animal growl , he wears high , as if it was the revelation of the men in their authenticity. He restores the divine , which is never to be a sensory and childish. Shitting in the boots with a natural delight.

But as fascism , it does not support the objection, the emergence of consciousness in its difference, it does not try to pursue an ideal or an order, but it is yet to say so crazy and illuminated , the fullness of one, in fascism , the one hugging mass power , in which against fascism , anarchism is not to exceed fascism in his delirium , the transient impulses while hugging each their being.

Freedom, your name so quickly overused

Sweet Movie is therefore based on an ambivalence regarding any and especially adheres ultimately that it presents , flirting with the spirit " puffery " and " no-limit " Jodorowsky (El Topo , The Holy Mountain ) without having engineering or even less creativity - unless the accumulation of the primary functions of beings is a bang . If it is, it is the intensity and rawness of the performances, because here coprophilia , the émotophilie ( paraphilia vomiting ) and pornography are not necessarily simulated.

Its deadly or immoral excesses , Sweet Movie sabotages his claim nihilistic ( he wants to proclaim " this is what we are pure machines look good in background " ), but his challenge fails because it advocates , under the conviction of human demise , the ideal of absolute and hardcore debauchery ( forsake the will or desires of skeptics ), and at the same time , the chips away showing its inevitable outcome : death, operation, aberration , and finally , most importantly, the most uncompromising disposition . Sweet Movie is this honesty and Mekevejev this patient posture, however, it would all combine ( the release and background about the trial of ideologies for their consequences, but the love of degeneration they contain or accompany ) or the clever calculation is that more obvious . One could even say that Mekevejev , exasperated , decided to make a martyr of his critics by showing the most insolent possible, and again , we come back to retreat to the status of scruffy kid very happy to expose his contempt for the authority and his affection for the free release of sandbox.

It is a beautiful testimony to the absolutist anti- conformism , seen from the inside , with acuity and truth, but also with complicity , in the positive sense, decide that a narrow life, we prefer most stimulating smolder exalted and instinctive , in the negative sense, is choosing the degradation and wear all contempt of all virtue and instinctual initiative, including antisocial or grotesque, the rank of sublime revelation , under the pretext of the only law : our unfettered authenticity and value only , tolerate no standard anything , not even by chance we could talk .

And this is where the film finds some consistency , at least in the demo , because when claiming his libertine communists and sing traditional songs of the school of thought , it is ultimately the service (in addition to their passions - in essence, Mekevejev accuses them of being like any other and as it is, but with socialist pretensions ) a small microcosm of rich people ( the black who lives near them through their rents , the Paris community recovers to be given to the location). And like them, the rich ( billionaires start and show the Miss) do not accept any principle except that the rejection of reason, they chase conventions or beliefs and condemn those who would join them once they are ready to drowned a young girl aspiring to marry and regretting that thought does not occupy space more . In this way the film shows how the nightmarish doubly subversive influence of those whose purpose is to sabotage and destroy what does not fit their cynicism and their sense of idleness and loud vulgarity. For those fortunate or progressive illuminated régressistes , psychiatry is also one of the few references to value and they use this institution to correct cohorts victims sometimes see the acceptance claim , sometimes into unconsciousness in their eyes, all determinism , codes, traces of the past , traditions or any attachments . Here , specifically, Sweet Movie is really brave. At the same time , he raves this mentality may Mekevejev , tired of fighting against the moral and communist Yugoslavia 's order, he is tempted by the most expeditious demons. In any case, this disregard for human material , since it does not accept the animal and petty party is granted, or at least an attraction exerted on it , which considering that Sweet Movie , is experienced in the joy.

Heavy expérience, borderline, especially failed

On the one hand , we are satisfied that this film is because he signed the possibility for anything to be given birth and presented , and this is because it contains all the daring and all the failures that cinema is a receptacle located the entirety of which arises in the mind and human experience. However, the eagerness of censorship appears admissible , of course, it is great at a time ( the 70s ) everything was allowed and it must not despair , it will be new and generally applicable. However, this opportunity serves only debauchery of childish experimentation that seem to emanate injunctions scatophile a child can not be justified and cheered on the principle of " free expression." The film is so much the better. But this is crap . And it shows , by its subject as its motivation, that freedom can only be put at the service of destruction , the accusing fingers pointing with a virulent penauderie obvious enemies may be the loincloth of a religion the degeneration and all mediocrities . Moreover, without feed their charge , worse , turning a free spill or pictorial representations, for the purists , setting critical abyss .

As a busy crying : all this is "optimistic tragedy." Basically, Sweet Movie is the uppercut a jaded mind building a tent on the ruins of his own cowardice . At least he has everything it takes to get noticed and be remembered in memory . Then we say that it is fortunate , since otherwise it was very empty and elsewhere remains totally hollow . But he did it, we keep an annoyance or a memory dumbfounded , it may even be charmed or disgusted in any case , yes, hard to miss .

Overall Rating 45

3 on 5 The new unloved blockbuster Shyamalan door meeting on the first big-screen Will Smith and his son Jaden . For many, this will be his only good quality : the first incursion of the author of the fantastic Village was lynched in the United States and continued his career in the jeers , the French public is an exception for it a success significant at the box office .

Announcing himself as an eco- fiction film to finally impose initiatory journey , After Earth takes place a thousand years after the evacuation of the Earth. In the colonies of Nova Prime, Kitai ( Jadem Smith) failed to become a Rangers despite its effectiveness in the field, to channel his impetuosity , his father invited him to join an expedition to the area . The ship ran aground on the Earth due to an accident and they are the only survivors , injured and reduced to immobility , Cypher (father ) sends his son to explore the scene to find a point of reporting ; Kitai will face aggressive wildlife and an alien creature who took the fall to escape.

Simple and clear in its implications , After Earth follows a straight line , the principle is predictable, the interest is to pass tests in parallel with the father-son relationship in full (re) construction. During this journey into the unknown where Kitai is guided by his father remained in the ruins of the device , it must , in real terms , to be the height of the Rangers , which included more than and separate from his fear ( claim this principle suggests Scientology [ as the determining presence of a volcano , a key element of its genesis ] , which is accused After Earth to be a showcase of mass).

The reduced background and survivalist bubble of this post- apocalyptic Earth amplify confidence and emotional closeness , the pace is slow , the intimate atmosphere , it is a path towards reconciliation and maturity for this young and this is in this way the film touches the right. The area is to the emancipation of the son , taking the risk of freedom while disappearing from the lap of his father and a padlocked society where his impulsive temperament and flying led him to say , but no pass dams in a condescending hierarchy. For the rest, the big seal told Shyamalan was brilliantly used , as take the opportunity to develop novel creatures and provide vision both dangerous and almost a dreamlike world where nature has taken over the all of its rights.

Overall Rating 60

4sur5 Those who venture to its discovery should be warned of the deeply confusing nature of Phantom of Liberty. This is an authentic unclassifiable . It is exciting but not pleasant. Should not approach it as entertainment or a hobby any fear of being betrayed , perhaps disgusted. Whatever happens we will be dumbfounded , but left to focus on a curious object, so be warned that it can not be swallowed him alive ; knowledge makes available to rupture.

To explicit and ultimate surrealism

Penultimate Bunuel film, which introduces biographical elements ( hair sticking out of the coffin, the gross fallacy of a monk ), which is a film of non- linear narrative , aligning several skits related to the stage of opening a direct adaptation of the table Tres de Mayo de Goya (shooting by Napoleonic soldiers Spanish prisoners). The sequence ends with the cry of " Down with liberty ," which comes at the end of the handful of sketches. When the title is taken from the first sentence of the Communist Party Manifesto of Marx and Engels, " A ghost (communism) toured Europe ."

The Phantom of Liberty is basically an awareness of Bunuel on itself, the effect of his art and misuse of his name. A way out , it is the perception of the annexation of the protesters by the power values or standards needy : where in 1984 showed resistance organized by an omnipotent power, The Phantom of Liberty provides a more subtle observation but also more representative the modern era : what bothers can be liquefied , the challenge is even corrupt it. The surreal twists Phantom of Liberty, like the scene where toilets and dining exchange their function, highlight as you can without disturbing the form upset the established order , and it is not just about one of the power and its abuse. It is rather the expression of an eternal return to order ( or in the place , depending on your sensitivity) , whatever ways borrowed by the context. Disturb any form without upset established structures , that's what tolerates a nonchalant and rigid society. More frightening , the idea that men always give up and can not get rid of the same dross and sterile when their situation is too easy habits.

Monstrously ironic, sometimes hilarious (it is anyway in his state of mind), yet filled with bitterness, but a saving bitterness rassérénante. With The Phantom of Liberty, Bunuel angry teenager and old are jaded merger. And this is also an integral and living thought. Naturally, Bunuel skinned passing the bourgeoisie, religion, and The Phantom of Liberty can be seen as a synthesis of the great attributes of his work, a kind of crossroads at the end of the runway. However, these critics operate within this film 's own philosophy, it is the same for the characters, which have no intrinsic existence and gives the representation of social archetype. And this lack of independence is a reflection of the terrible confession Phantom : freedom only serves to supervise the pre- exist, leaving no autonomy at the level of the envelope.

Therefore, adults are lost children, clinging by reflex to external rituals rendered inert and idiots. They are in spite of and believe it is he who makes them great . In fact, they are just too many, and their effects are too, too, for their people first, then for this environment that maintains their sleepiness , but chained to their wanderings, seems to lose its meaning. In extreme cases, it is as if these floating humans, these ghosts futile freedom, destroying the charm and organic value they alienated, as if their excessive comfort coupled with their trivial and functional mental, undermining the shred of fluidity and ultimately excluded the exercise of real freedom elegant, instinctive .

The final flash of Bunuel

When he is knighted , Bunuel himself becomes an institution , worse : a soothing reference . It also assumes , and it is thought that , if it were understood, can not be defended by all lovers of the " libertarian " prose and "anti- bourgeois" , and proclaimed that the alleged freedom is always a hollow hope . Bunuel and then confront the real issue of his age at the time of the fall of ideologies : the hegemony of a legal pessimistic (too, but by choice and not by analysis) and conformist , operated by the annexation of dissenting values , relativizing to obscure the nature of the situation. Freedom, empty concept, the mask of renunciation , but also the impossible conquest of truth, intrinsically linked to freedom , for each shot intense consciousness confronts his own alienation , or at least the fate of all conditions: well, there is no possibility of exceeding (except by mounted slot heroic - or even more , in a selective stripping), and finally the famous bourgeoisie that will accommodate an intermediate position between lack (resources) and harmful abundance of meaning (this was particularly the case in The Discreet Charm , but it was already in Belle de Jour). Nobody knows how to seize freedom, the promise can therefore only be a farce or a manipulation.

Often seen as a figure on the left-wing, anyway, and rightly as a dissident , yet emphasizes Bunuel The Phantom of Liberty constant failure of men to emancipate themselves , especially failure to take ownership of their minds, to s assume rationally. The lack of use of intelligence is offset by a rigor, psychological and physical postures conventional adoption , and new generations are alienated by this show. And while that claims to care about them, they deny their own existence , it connects to adult fads that are in fact themselves as children dry in delirium .

Maturity and pessimism amused

Bunuel sees men as pawns of their destinies ; social rituals as inevitable. He sees that the appeal of the man is to liquefy , and find satisfaction in the aberration because it is more far from the truth , the more it is warm in security and it can lure of freedom. The artisanal and spiritual , it is a Bunuel announcing his retirement looking men like animals clenched imitating seriously. But their mistake is not to be born , is to be bound to accept integrate the single market , this life force locked , vitiated by laziness and indifference.

The demonstration is great, the idea is brilliant (understand that freedom is a sham is an essential aspect of maturity - not necessarily of resignation, however it is a choice), permanent humor, perhaps, the only limitation is to set some shuffling scene . If it avoids dwelling on unnecessary details, it may show too much emphasis to auscultate the absurdity of the actions of these functional and daunting animals cruelty and depth are redoubled, stuffing too, however, the film becomes even more tight (this is not a quality defect, but strictly educational). This is a radical form of meta -language: the movie is dedicated to staging the thread of thought, with that indescribable mixture of coldness and jokes .

Definitely, go to The Phantom of Liberty as a fulfillment of explicit surrealism, do not listen to those who guarantee a surreal comedy. The Phantom of Liberty is very funny, but taken as such , it's just a lame gags accumulation and virtuoso close to fantasizing. It takes its value (and is , incidentally, all the more fun) for worn by a filmmaker on the verge of retirement (at all levels) and mindfulness look. In either case, there would be a repetition of The Discreet Charm of the bourgeoisie, the crazy Chabrol open, or psychoanalysis believe this is bullshit. When you do not tell you and simply cheering the grandeur and subtle humor of this film, it is precisely what Bunuel mocks, this complacency, this vanity, this display ridiculously personalized accessory disguised as a conformist adornment of good taste, consisting only celebrate the surface of an object . Bunuel was understood, too, with his sincere art, although it became a supplier of label refinement employed by narrow minds and infuriating ... But he ridicules in his movie! And this is the case, it is one of those filmmakers appreciated by principle while being anesthetized through standardization and ignorance about its (often reduced to '' analysis '' overrated or borrowed , the " this is much more than that " does not return anything), the worst fate for an intelligence, a sad and reassuring as destiny. And if the memory remains , perhaps the message will pass through the minutes insipid for the work is invigorating .

Overall Rating 80

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1sur5 My condolences to the family of Jean Roba , the author of Boule & Bill, that it was perhaps the only one to believe that a little romanticized representation of the development of BD . Sorry as it is represented as a kind of bawdy tribe ( very) small middle class. However, it should be noted that if the adaptation is poor , there is no drama : yes it is void in shit bricks. But it does not matter . We're a little shocked at first but for some it is accused , it becomes tolerable , you may even find genuine amusement at this dung which incidentally has the honesty to reveal the outset and never attempt any ambition could ever so slightly exceed it.

The biggest misfires Boule & Bill takes naturally to the use of voice-over dog . Its use is not even within the redneck brutal to Eddie Murphy : It is entirely sloppy and cheesy, reaching just to deliver a " comment" on its direct condition Bill. The dog pours down spontaneously and the flow of his feelings any , the authors have not thought for a moment to strike a dramatic effect , or to infuse a single specific regard to their alleged mascot.

In its most intense minutes , the film illustrates highly rock'n'roll sequences with Bill running his master Dubosc , or the pursuit of garbage truck with Sardou balloons background. Wuhu ! The most appalling is concentrated around the turtle , its aberrant romance with the dog through its sung numbers or entering " Harley Davidson ."

Fortunately, parents are there to mop ball . The same adult non- completion can breathe a little by finding Marina Fois , hostage movie with the usual petty resignation , and Franck Dubosc , who believes in him a little and there is an opportunity to be vaguely against employment . This is when the film gets closer to these two that the session gets a little consistency.

Everything else is a disconcerting void : the monologues of the dog, the pace and direction of the " gag " the child actor almost unpleasant. There is also the poor simply the rickety scenario ( spatial confinement in Paris and the kid are the only "events" in about 80 minutes) and bordering with inconsistency, the interventions of the secondary characters ( but here , depression and intrusive neighbor - in an adult film, it would be a contradiction in terms there , but are not there ) .

Overall Rating 24

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Titling of Tony Bennett (early 50s) in the new season of H & M, which Lana del Rey is the new face. It will return on November 12 with the reissue of his album Born to Die, improved original compositions.

Purists regret that this obvious homage to Lynch, violence and animosity have disappeared. This is an edited version, playing its formal perfection, static and virginal, to provide "arty" stamp and maybe even "underground" to a brand if it is based on the extension of its luxury or reproduction overrated but decent, singularly lacking in charm and inventiveness.

Everything is built here by the legendary Blue Velvet Lynch: either by tracing with a deceptively awkward fidelity and reiterating how "light". The angora sweater Sandy, which she wears caresses nobody gives him a Dennis reformed neat and liabilities, but the bliss otherwise sobering and a hypnotized and willing audience, but whose forms have melted and reflect. Only Dorothy seems to have completely disappeared under a new skin, while Jeffrey is a nice sensitive foam escaped without knowing a post-industrial Quarrel online.

References are sweeping up the room "mystery" of Twin Peaks and the dwarf tumbling to break the harmony (but in a gesture reminiscent again a key moment in the 1987 movie). Shame that Lana del Rey pouts forces in response to it. His attitude tends to break opacity and dreamlike perfectly orchestrated the preceding time.

Note that the clip also evokes, perhaps in spite of himself, The Marriage of Eva Braun, or a chic and stoic environment, a woman's place was channeling a kind of despair lucid about his identity.

4sur5 Diehard see suicidal , it's probably a sick movie , but in any case a real - world short film , an autarkic bubble , combining therapy and flamboyant projection of Western sensations on the East. The reception has been disastrous for this album arising after the Drive sacred. This story of revenge around Bangkok in Thailand has more to do with Valhalla Rising a new hagiography of Ryan Gosling .

Intentions are explicit Only God Forgives . Despite subtle writing ( Pusher trilogy ) , Winding Refn does not film scenarios ( except perhaps in Inside Job) , he plunges into the depths of his characters, is guided by animated fantasy , a faith over all the ideas . With ferocity , it manifests in this Only God will anchor emotions and situations through symbols ( enhanced by collaboration with the chief operator of Eyes Wide Shut ) , everything is in place for the convergence to the perfect representation . Breakthrough scenes follow , you can see the empty , there has yet to feel everything they exult . The characters are thrown into the ring and every moment we share their dizziness or give in to their whims .

This is of course the ultimate work style , different from portrait to Bronson and his notorious euphoria, it shows a path to renunciation and sublimation. Its archetypal mute , Winding Refn does a expressionless hero witnessed a mythology that crushes in which he seeks to melt ... and yet always returns to his impotent shell. The real pillars of the film are playing vigilante Chang extensions ( Vithaya Pansringarm ) and Julian's mother ( Kristin Scott Thomas , sexier and tortured than usual, still jaded Cruella ) , so associated condescending, accompanist fails, guardian disembodied and demoralizing , despite his sense of family . Behind Ryan Gosling disappears , depending on it's face in these two authority figures , these monsters enraged and melancholy , each in their own way , their manager overrun. Only God Forgives is the magnitude and outrageous solemnity of a Greek tragedy , and all players involved in it , by a slip defying our attention, but logically mooring in our minds.

We may hate Only God Forgives . Still, it is with Winding Refn a formalistic unique talent , subjecting the film box with a recklessness and a taste of the nightmare on film equivalent to David Lynch , perhaps , with the explicit rage , violence and romance rather than the strangeness and pure sacrifice for fundamental difference.

Overall rating 81

4sur5 Director of clips for artists mass (Air, Daft Punk, Justice, Cassius ...), the French Alexandre Courtes is now also an advertising spent to achieve the big screen (like Spike Jonze and David Fincher). The Incident is a monstrously effective horror thriller, with minimalist yet proven recipe. Three friends and members of a rock band on the verge of implosion, they are cooks in a prison building containing extremely hazardous clinical cases. A power failure will make them all hostage. The guards are depleted and must be taken an hour before help arrived.

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The only darkness shimmering corridors asylum justify the vision of The Incident and require sophisticated graphic borrows its author. If survival in a psychiatric hospital evokes Carpenter (The Mouth of Madness and Halloween in particular) most physical and impactful, it is also distinguished by the work made its atmosphere and lighting. Courtès fully exploits the mournful character of the area, supported by Baxter, editor Aja (and livid). The emphasis for the characters and in particular that of George (Rupert Evans) completes persuade, while we are left worrying about the sordid fauna of this camera. The finest specimen is Richard Brake, mouth inveterate psychopath, in the skin of Harry Green, probably Machiavellian villain of this story. Asylum Blackout is a (first) intense and remarkable film.
Overall Rating 74
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Suggestions ... The Divide
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favorable aspects

unfavorable aspects

* The stage, the atmosphere, the aesthetic, the cast, everything is perfect and / or original

* A distinguished virtuoso program involving

* Quite conventional in the background

* After lackluster

4sur5 Ni reboot ni remake, le blockbuster de l’été 2013 marque le retour sur grand écran de Guillermo del Toro après quelques contrariétés (débouté du tournage de The Hobbit). Mêlant fantastique et SF dans un présent fantasmé, Pacific Rim est un divertissement exceptionnel, étranger à toutes références géopolitiques : on est tenté de résumer Transformersmeet Inception mais Pacific Rim est encore au-delà puisque Guillermo del Toro y invente tous les repères, pour un spectacle titanesque, auto-référencé, à la fois mature, généreux et ingénieux. En parfait geek revendiqué, le cinéaste mexicain accomplit un rêve d’enfant en rendant hommage aux kaijū eiga, ces films de monstres japonais ayant donné lieu à plusieurs franchises dans les 50s et dont Godzilla est la figure la plus représentative.

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Et cette emphase est communicative : Del Toro déroule des enjeux limpides, sans niaiserie ni ambition métaphysiques, simplement pour le plaisir des sens. Le face-à-face des Kaijū, monstres issus des océans, et des Jaeger, robots géants pilotés par les hommes pour tenir les créatures en échec, débouche sur un climax de trois quart-d’heure de pures scènes d’action, dégageant une poésie organique et concluant en apothéose ce feu-d’artifice. Si une suite est probable, Del Toro n’a pas fait dans la rétention pour autant, parvenant même à synthétiser la matière d’une saga sur un seul long-métrage ; tout au plus, on peut reprocher au film de ne pas laisser le temps de prendre de recul, mais c’est un moindre mal, mieux, c’est sa plus grande victoire. Car face à Pacific Rim on profite du moment présent et ne voudrait pas être ailleurs : c’est rare et c’est l’une des missions premières du cinéma, même si on finit par l’oublier, d’autant plus lorsqu’on le fréquente assidûment.

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Comme pour les Hellboy, la limite de Pacific Rim est dans sa modération sur la dimension humaine, matière à la fois franchement et superficiellement abordée. Toutefois Del Toro réussit parfaitement l’identification aux personnages ; il réussit même à donner corps à l’aventure elle-même et tisse ainsi un lien entre ses fantasmes projetés à l’écran et notre esprit dévoué, en réveillant une sorte de transe enfantine par son imaginaire vertigineux, mais aussi et surtout, viscéral ! Lorsqu’un virtuose parle aussi le langage des tripes, c’est l’accomplissement. L’idée de la fusion entre deux unités (la « neuro-compatibilité » des co-pilotes, l’association des deux scientifiques) sert ce dessein ; et les acteurs font également fusion avec ce tourbillon (au lieu de l’accompagner doctement comme souvent dans le genre), au point que leurs performances suscitent le même attachement ; Idris Elba (le héros de Luther) en Général, Mako et Raleigh partageant le pilotage du Jaeger et les destins cabossés, ou le nerd fou, sorte de Sid de L’Age de Glace en mode surdoué, sont autant de héros catégoriques, inspirant la proximité (ils sont simples) et l’attractivité exercée par ceux qui savent prendre le risque de sauter dans un bain de lave.

Note globale 75

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Neither 4sur5 reboot or remake the blockbuster of the summer of 2013 marks the return to the big screen by Guillermo del Toro after a few annoyances ( dismissed the filming of The Hobbit ) . Mixing SF and fantasy in this fantasy , Pacific Rim is an outstanding entertainment, foreign geopolitical all references : one is tempted to summarize Transformers meet Inception but Pacific Rim is still beyond since Guillermo del Toro and invents all markers for a show titanic , self- referenced , both mature, generous and clever . In perfect geek claimed , the Mexican filmmaker accomplished a childhood dream by honoring kaiju eiga , the Japanese monster movies that resulted in several franchises in the 50s and that Godzilla is the most representative figure .
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And this emphasis is communicative Del Toro place of clear issues without silliness or metaphysical ambition, just for the pleasure of the senses. The face- to-face Kaiju , monsters from the ocean , and Jaeger, giant robots piloted by men to keep the creatures at bay , leading to a climax three quarters of an hour of pure action scenes , generating organic poetry and apotheosis conclusive that fire d'artifice . If a result is likely, Del Toro has not provided in the retention , even managing to synthesize material from a saga of one feature film , at most , one can criticize the film does not allow time to take back, but it is a lesser evil, better is his greatest victory . For face Pacific Rim we enjoy the present moment and do not want to be elsewhere: it is rare and this is one of the first tasks of the cinema, even if we end up forgetting , especially when the regular attendance .
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As for Hellboy , the limit of Pacific Rim is in its restraint on the human dimension , material both openly and superficially addressed. But Del Toro worked perfectly identify with the characters, he even managed to give substance to the adventure itself and thus weaves together his fantasies projected on the screen and our dedicated spirit , awakening a sort of childish trance its dizzying imagination , but also and especially visceral ! When virtuoso also speaks the language of guts , it's completion. The idea of a merger between two units (the " neuro- compatibility" co- pilot , the association of two scientists) serves this purpose , and the players are also merging with the vortex ( instead of support as learnedly often in the genre ) , so that their performance elicit the same attachment , Idris Elba ( Luther 's hero ) in General, Raleigh and Mako sharing the steering Jaeger and destinies dented , or crazy nerd , so Sid L ' Ice Age gifted in fashion are all categorical hero , inspiring nearby ( they are simple ) and attractiveness exerted by those who can take the risk of jumping into a pool of lava.
Overall Rating 75
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favorable aspects

unfavorable aspects

* Happiness to experience a childlike wonder

* A prolific imagination and self- referenced

* The satisfaction of being one with the universe

* Visceral entertainment, almost Dionysian

* It is very inconsistent to remind us that sometimes forget to think about that as well ...

* ... On the human limitations then?

3sur5 the outset , I attribute a 1sur5 not steal the little jokers who had the cowardice to summarize the film its title ( worse, mediocrity ), especially as it is perfectly honored , but not in the naveteux direction. The second film of James DeMonaco (after New York and Little Ethan Hawke was already a key figure ) is a thriller concept rogue whose success ( correlated with a critical reception pinched ) would call a saga case to follow, n is not guaranteed, anything is possible , especially the worst , but not necessarily.

Not at variance with the trend , American Nightmare takes us into a dystopian near future , that is to say, against - utopian . In this world of ours neighbor , the U.S. government authorized the crime through an annual purge , for twelve hours , at night , people can let go their instincts and decimate their peers , or just those that are not . Naturally, every citizen (except members of the government ) is exposed and must protect its own.

The purge would have restored the balance, assuming the share of repressed violence in society and allowing the savagery exult organized by the catharsis of a " resurrected nation ." It is incidentally a method of eradication marginal and " parasites " ( SDF is one in this world , in the service of the economy and security It is not just the return of Hobbes . C ' is the application of social Darwinism , but occasionally , like a carnival solve accumulated tension . Except that Darwinism is not only arbitrary and inequality that famous , is that means .

The action takes place around a wealthy family does not wish to participate , merely to barricade it , while resigning , like other citizens, this odious act , and finding him legitimacy , especially a good sense . Despite this reservation, the primary surge burst the lock of their house, to enter the cocoon and soil as the common lot of Americans. The Purge

The result is a classic home invasion and tense, with two added values : virtuoso and daring style ( sublimating feelings of intrusion and threat with deaf ways reminiscent Panic Room , another meta- home invasion) , efficient operation of a postulate fascinating and visionary. However, it is limited, past the excellent half - hour of exposure , where the subject is scoured and was examined synthetically and intelligent , The Purge does not know more than the basics of principle. Course on social and political grounds ( it solves the problems of background by moral stories a little sterile or side of the plate ) , but also more purely dramatic terms , where she lost opportunities . For example, the tacit contract between the attackers gathered to kill, could be broken , they could kill each other and family encourage them to do - and the law on the annual purge is always respected ( best honored ) . Instead , The Purge seems to hesitate , show that fatality and resistance that opposes it , without knowing fully what to do , if not live by trying to save the life and ethics, at least of his heroes .

If the film is almost helpless against his own ideas, by siding with the solutions of its protagonists , he knows to go after what it offers and draws lessons and policy direction ( the savagery of the cleanest first and the rich themselves trapped in social Darwinism which they adapted themselves like Mary - see he lived , as is the case of James ) . And this monstrous game , The Purge is a remarkable skill , transforming a basic survival program in vivid metaphor . When the reality is acquired , no speculation , just testing a theory and individuals have agreed , by default, by selfishness or greed , joining the intolerable romping space granted by a company anxiety .

Overall Rating 57

4sur5 It looks like a fairy tale where the progenitor have deserted and good fairies arrive too late - too late to repair the child rocking quietly in the monstrosity. The duo Aja / Levasseur has already supported the remakes of The Hill , Into the Mirror ( clean and result without interest) , Piranha ( very popular ) , but now it takes to William Lustig Maniac (1980) an important reference films serial killer . This is another member of the team Aja , Franck Khalfoun , which has already made his debut with the mixed second basement , which was responsible for the implementation .
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The result is a total replay with the same premise , a very accurate final scene (but revised again ) and a similar dynamic ( interfering in the mind of the killer ) but Maniac it swaps the wanderings in the city for the development of an impossible romance. As The Hills Have Eyes in 2006 , this is a great movie , worth to himself and standing out there by the hordes of remakes of horror classics he is nevertheless a part . However, The Hills Have Eyes was based on a poor totem as such , Maniac 2013 is worthy of its predecessor (co -producer , Lustig was regularly the scene of the shooting ) , however, the competition between the two would vain , the two versions are very different , each with a strong identity literally captivating , refined and rooted in their time.
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If Maniac is also one of the few great movies about psycho -killer , this is particularly due to the subjective vision throughout (except when the murders - how to keep his place violence ) . Aja and Khalfoun have created a monument of pure terror , modern and discreet vintage fads recalling its source 80s . Incidentally, they had the courage to bring the slasher and horror authentic and immersive first degree , in the landscape of non- Bis. For fans of gore and serious nightmares, it will be a fire - d'artifice .
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No surprise level psychology (the classic disorder induced by the abusive mother and frustrated also outdated and careless here), but a shrewd , browned and inspired use , reinforcing the subjectivity and to the unconscious hegemonic Frank (hallucinations and other romantic symptoms serve this purpose ) .
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The anxiety climate, extremely ambivalent importantly, what Maniac 2013 have truly one of those moments where cinema is allowed to win . Emotional control is massive, cruel also , we share the view of the killer and have compassion for Frank , we know the distress at the same time , we are completely insecure by his fault , and emphasis with his victims, thus sharing the doubling condition hostages at the forefront of the tragedy.
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These strange feelings are reinforced by radical staging choices : First, we see Frank as the reflections that he sees (and are often surprised to find such a fragile silhouette, almost childlike ) . Then all women exposing themselves to him , to give or to mock , approaching a wild finish. Finally, the soundtrack completes the immersion work with the spellbinding score Rob plus a twinkling in Silence of the Lambs .
Overall Rating 82

* Setting radical scene , refined and subjective camera

* Film proactive kind , elegant, powerful and resources (material , too)

* A Maniac -2013 and not a simple remake

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3sur5 With Possession , The Important Thing: Love is the most famous achievement of Polish director Andrzej Zulawski . Based on the novel The American Night Christopher Frank ( no relation to the film by François Truffaut ) , the feature film was a great public and critical acclaim . Posterity retains the performance of Romy Schneider and Jacques Dutronc, mixed with an impossible love , none of them knows assume.

In a perfect sexless and masochistic romance , their relationship is played around the world show where they discover she an actress failed to melancholy thirties him photojournalist . The world of show business is painted in a neurotic way, spirited and evil ( Klaus Kinski present) ; Romy Dutronc and there are a prison in their position , where they can give free rein to the constraints and privations they need , while exposing the violent environment and making their passion all the more disturbing that the muzzles .

It is a curious , hysterical , unpredictable and disorienting , and at the same time , a relatively conventional product. The French film Zulawski ( tired of censorship in Poland , he moved temporarily in France ) looks retrospectively at a parody version of his work , his tendency to exalt the weird and psychological crisis. All without spoiling too in the wake of the heirs of the New Wave and cultivating provocations ( representation of an orgy ) perfectly vain seen today , time and manners who began their corrosiveness .

Zulawski has called his film "bourgeois" and he shows people without roots but anxious to live in comfort , repeating that they did little or nothing , while wandering in places up to their whims as compensation for their distress and inability to build without mutilating . This is melodrama retention of authenticity, when confusion and cravings spread unhindered . Where behaviors are released under the yoke of wealthy producers or directors scenes where actors stage their illumination , all seem hell-bent on denying the constant drama they maintain elsewhere. Beautiful elegiac film leaving an imprint , a bitter taste , while seeming himself not fully delivered , as if the authors also were not in their conscience clear with what they are hatched , not willing to expose all but are nevertheless paying with devotion, wavering mind, heart and inhibited lint.

Overall Rating 69

4on5 This fantasy co-written by Francis Veber fancy marked several generations with its abundant broadcast on the small screen for twenty years. Forty years after (1973), this cartoon is pure recreation, served by the staging of Philippe de Broca, concerned to raise up the stuffing and euphoria, as to penetrate the privacy of his characters. With Jean- Paul Belmondo in the title role, The Magnificent is both a parody of James Bond, a sentimental tale, and maybe even a social comedy (with its libertarian exploiter).

François Merlin (Belmondo) have lonely and sad days, but he ignores thanks to its occupation of author. With the adventures of Bob Saint-Clar, spy to dangerous missions in Mexico, this lunar character size a world where everything belongs to him, where everything can be committed with impunity, never settle an account or confront the reality without not be restricted in his passions - that he also deals with false nonchalance. And that, of course, he takes revenge on those who caused him harm IRL (its editor, its workers failed, his ''mechanic'') or its employees makes fantasies. It's almost the case for Christine (Jacqueline Bisset), a sociology student attracted his novels to write his thesis. But Francis finds himself in competition with his character!

Whimsical comedy with franchouillard accents, The Magnificent has flaws (the '' contrast '' a little heavy, or focus taken by Belmondo to emphasize '' irony '') but they are all corollaries of his great qualities. At the heart of them, always the same engine : the exuberance (any excuse to fireworks), sensitivity (the daily and sometimes pathetic situation of a man is shared) and imagination (the key to everything). The film runs the game of his inspiration : his imagination and his doubts failures ; brutal returns and intrusions of reality (the arrival of his son !). This Magnificent shifted positively surprised and optimistic. This is OSS 117 of its time, bartering wickedness for complacency and praised the dream, the troll comments for authenticity. Every moment has its share of happy histrionics, gags and boiling effusions. Belmondo was the opponent of Alain Delon in the seventies, it could be that of Pierre Richard !

Overall rating 71

2sur5 Released in Russia and Canada in summer 2012, Upside Down should arrive in the U.S. and France in spring 2013. A strange and aberrant disposition strategy by retailers, especially as the film is visible on the internet. Available in HD for a few days, it will probably have been discovered by the majority of moviegoers before its theatrical release on 17 April, copies of streaming quality and easy to boot. Deliberate sabotage or ill-treatment filter and pragmatic and neglect to-end? Could indicate an attempted seduction paradoxical a way to limit the damage by seeking to justify a failure by some commercial and artistic wanderings quick to make a "legend", a genesis for this incredible sweet turnip which will exit the transvestism in film-sick.
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Upside Down movie might look like SF-road of the future: functional, opulent, tasteless, he deserves to be broadcast in all areas of transit, the only contexts where everyone can revel in a stew pyrotechnic and dripping, without grievance drought at work because this fury placid accompanying the movement. In short, this is a movie to watch between two doors in a hallway metaphor, there it will make sense and will have its place.
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From one end to the other, the film is in the pathos dazed and continuous overload (there are not 20 seconds at a time when our ears are in peace), romanticizing everything and most especially Benin, the how to pop a clip delighted with the nursery. All this emphasis artificial prevents any emotion emerge, but also blocks any attachment, any affect for the object. Flatness and vapidity of its contrast with the exploration of its potential indecent universe, its worlds physically but reversed its more technical.
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True to its history (Northeast, The Cloud), Juan Solanas (known for his movies rather "humanitarian") wants to glorify in a kind of ironic Eden and blue. But his approach is too demonstrative and padlocked and only desecrate every moment, adding to the point of disgust from the first quarter d'heures. Especially the aesthetic splendor (the principle of both worlds mirrors the very original photograph) only decorate a scenario of a great conformism. The viewer is to skim a world drunk on the graphics, sorry conceptually, the laborious human and undrinkable intellectually. Or when buildings are Labyrinth loincloth luxury product and sanitized after all very straight forward. Strangely, it was comical in its several aspects, only time he finds humility and consistency, Upside Down clings most strongly.
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From reconnection and corporate restructuring Transworld show gains in intensity. Despite the misery of his writing and the ridiculous, see the vulgarity of his emotional outpourings, Upside Down begins to gain some heat (perhaps by dint wear nervous because of across the emptiness is mistaken by hysteria hollow and quite disturbing assembly) we feel consumed immediately but at least the program is finally functional. Although very subtle, the experience becomes enjoyable and the strange charm of Kirsten Dunst can flirt with this coveted grandiloquence. At its best, the film thus reaches his true vocation, like a mash The Fountain, eroded and artificial. We still go out quite dismayed if a brilliant mess.
Overall Rating 40

4sur5 is a filmmaker Xavier Gens 'gender', a man fulfilling his dreams by cinematic achievement. His work is naive, clumsy, but generous and voluntary: Frontiers betrayed the blind investment, the lack of restraint, displaying gory visions, connotations and supported local color without compromise, even with a pinch of politics, including the extremely candid view is ridiculous not harm the overall strengthening its rather childish recklessness.
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The Divide is a step in the career of Gens. Despite the DTV output in France (June 2012), the film has been designed in the USA with a team of actors and mainly American, or German, and receives an echo much larger than its previous productions, including Hitman. It marks a qualitative leap in the means and in the cast (actors audiovisual and people second class before) and embodies the "brand" People, exacerbating its vitality, anxiety issues and purely physical staging powerful and bluntly.
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Bringing together, at a scientific Apocalypse, eight people in an old bunker antisocial paranoid locked heart, The Divide transcends the principle of survival to offer a journey into the antechamber of hell. Regression, morbid passions, humanity transparent, minimum and utility are part; People scrutinizes the world of human impulses and intentions, goes to the root to find what can usually borrow a mask.
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In absolute horror, yet People find all sorts of reasons, although he concocts a genre film violence exorbitée style and sharp sound The Divide is a quest for moments of truth. Once again, the work of People First is lived by this human dimension, oddly sentimental and uncluttered. Putrid and lyrical, this camera among survivors reduced to their most pressing mobile attracts the greatness and misery of man. Trash and opera, the show does not cheat, does not lie about anything, aesthetically delighted, fascinated by his hard-line, his desire to put guts on the table.
Overall Rating 75

2sur5 Survival in a post-apocalyptic hell and only white French film presented in Gerardmer in 2009, this pure action-movie gore appears mostly as an excuse to spread some sleazy exploits (vomiting blood etc..). In the first half, Mutants is a game of cat and mouse in a huge disused building between a couple where the man is in full decay physical point of boredom but soon a rescue team joined the alleged besieged citadel, now HQ of the last men. Program, internal tensions (but nevertheless persistent bad shape) and zombie attacks (trash as it should).
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History and issues are minimal, only the graphic violence and the sense of reality of Helen Fougerolles are not purged. The set will nevertheless tempered by mutual affection of two protagonists, but even supposedly heartbreaking times, it's incredibly clumsy, incoherent view, inadequate to the whole.
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However, Mutants is attentive to load a sensual chaos, the expression of dominant natural power relationships most prosaic (with some ill-dualities assumed wise / pragmatic decision maker mean / obsessed follower or assistant forced) work and the film brings some consistency.
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It wants to be quick to encourage the French genre cinema, especially since it seemed to try to awaken in the 2000s - but that so too humble artisans or there expressionless geeks come to doubt the prospects for , horrific hexagonal, which seems especially to young technicians used a little punks get their hands without seeking the invention. If Mutants rises a little above the fray, it is based on limited intentions, particularism (in terms of scenario ideas as icons) almost non-existent, apart from its aesthetic environment.
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There is still fit the barbaque, sometimes the odd (since the mutant) and many human conflict. Primal but silly. It looks like the exhibition of the imagination a fan of video games: everything looks like a pub survival we are at the forefront (if not the hero), with sound effects and graphics power but no spirit and no construction (ie Outpost with less supernatural than symbol, but more involvement).
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Mutants will not be among the major (high voltage), not to rank among the stews shameful way the Horde. It occupies a rather intermediate still lagging behind other equally basic but stylish Inside. There will still feel pregnant that it's all that lost time is a lap honest but linearity, a disconcerting simplicity. Fortunately, the last half hour just boost this penauderie stirred outrage to accomplish a big carnival. And then retain beautiful physical demonstrations, especially respectable When it built the film's budget.
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Overall Rating 45