FIRST NAME *

1sur5 The Name is a film rednecks come, made by rednecks come with rednecks come to a large public-it will stick almost despite himself given the massive propaganda around this staggering turd. The viewer can navigate a team of actors paunchy morally, intellectually and ideologically stunted distressing that they usually look to see, on all trays lobotomized entertainment but also in magazines, radio and TV press claiming a certain height of view, attributing as observers of the cultural life without ever realizing that they are the receptacles of banalities self-scuttled by their conformity, their quirks and their television marketés schemes collapse or in the extreme.
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A bunch of shirkers therefore insignificant (Charles Berling, Patrick Bruel, it very arrogant and disdainful, we were able to achieve after his success in it Do not do not do that William Tonquédec), inexpressive and boring (except for elk connivance gritty), in interviews as on stage. Those are yet to take great artists, as they are maintained by and in a populist cinema and philistine who, by force of hype and cultural violence, claims to popular and honest as he is sloppy, easy and simple, but extremely folded and closed.
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What is the universe in which the characters revolve Name? It is that of individuals who speak of nothing but their moods petty bourgeois. They install them cleavages around the success (or not accomplished, flashy or not), the duality panties / underwear. We must show we have a little culture, impress friends. And above all, it must blend in with the cartoons of his social and societal environment Redneck Paris.
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The "cynicism" of operetta film is a clever way to disguise the nullity of About, writing and directing. First up is the Hercher the cultural alibi: filmed theater according to Gallic tradition, he looks for references to prominent people or historical events to turn into the melting pot. A melting pot for both arming Question for a champion for the film's prime-time, sponsored by any industry clumsy and feeble, or will meet the big Monique struggling with erection problems of her husband or his dog farting, unless it is embarking on wild adventures with his girlfriend office.
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Because here we are: this film is that of a petty bourgeoisie from vulgar to remember it does not escape the smallness of the human condition. The horizon is decidedly right-handed bobo confined to sociological and political stereotypes in which they are confused, and his small entourage, his small business, his small apartment in a large wealthy neighborhood. Small concerns obsequious housekeeper, but housewives of another nature (and to another degree).
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So yes, it's totally flat, soft and even stupid. And this is not to be opportunistic as to say: because of all the ways Name steals his success, that is, the blockbuster comedy in the French department. A blockbuster complete with an intro to Amelie, facetiousness and blare less, tasteless anecdotes quite present. This is even without relying on narration verbose and puerile, permanently sealed by the voice of Patrick Bruel. To be fair, however: the singer for working girls in the way which is scratchy, surprisingly, manages to be as punctually funny (probably because of its unbearable character).
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It seems that no one laughs than what comes from themselves, than what we know, feel or guess already, which meant as the world's first name is sad and limited, uninformed and perhaps even downright coward behind his appearances BCBG discount. This is the sub-industrial American comedy, at least, that one knows how to laugh without deploying as much hysteria, or else by assuming systematically go without summoning the leitmotif / political figures most right-thinking and worn.
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Overall Rating 8