Critiques cinémas mensuelles d'abord publiées sur Facebook - 2ème ANNEE:
May 1 2015 through May 31 2015:
1er Mai au 31 Mai 2015:
Note: from the May 17 2015 entry, each review will also be available in French
Note: à partir de la critique du 17 mai 2015, chaque entrée sera aussi disponible en français
2015 @ the Movies take 51 : "Avengers: Age of Ultron” (IMAX 3D) To me an Avengers movie is akin to a very large scale juggling act where the juggler has to keep a hammer, a tank, a butterfly, a floating city, and a plethora of tin cans and a vibramium shield in the air - and keep it witty. Did Joss Whedon pull it off again? Shit, yeah! “Language!” The balance of over-the-top “catch that city, it’s on fire” sequences and character moments is just perfect. The added bonus is a worthy adversary, Ultron, voiced by a superbJames Spader. *Spoiler* the introduction of The Vision is also a high mark in terms of design and rhythm shift. It’s a super-hero movie done right with a zucchini to boot. Experienced at Springfield 11 in theater 11 on May 1 with Susie Romanoff and Kurtis Banner.
2015 @ the Movies take 52 : "Clouds of Sils Maria” Ever since her non-performance in Twilight, Kristen Stewart has had to prove herself as an actress. Maybe this film will put an end to the curse. She holds her own impeccably in front of Juliette Binoche, no less. The trailer bills the film as a trio, but it excels in its duet scenes with the aforementioned couple. The constant shift between rehearsed and true emotions is very powerful. According to Olivier Assayas, true human bond and generational transmission seem to have become a mirage, and ultimately an absence - like the elusive snake of clouds cascading through the mountains of Sils Maria. It’s in English, but a French director is at the helm - don’t expect an ending with a bow on top. Experienced at Moxie Cinema in theater 1 on May 2.
2015 @ the Movies take 53 : "Force Majeure” The day you find out the person you love his a selfish coward… Great premise for this Swedish import that works rather well in its first half documenting the disintegration of a vacationing couple. Disintegrating couples are the cornerstone of Swedish cinema after all. The way the Sartrian “bad faith” of the couple is constantly threatened by a third party is on target - think "No Exit” in a ski lodge. However, the film strays form its core premise towards the end and doesn’t quite stick the landing. Experienced at Moxie Cinema in theater 1 on May 3.
2015 @ the Movies take 54 : "Phoenix (2014 film)" On paper it seems we have here yet another World War 2 film: a camp survivor reuniting with her estranged love in the Berlin rubbles (Yawn...) However, this German import's focus on character and its sparse set design gives a much more universal post-any war feel. WW2 is more of pretext than anything. The core topic of the film is reconstruction of an identity after a violent trauma. While the initial premise is a bit contrived, the piece is saved by a wonderfully subtle performance by Nina Hoss (seen in A Most Wanted Man) and an oddly interesting use of diegetic music. Experienced at TIFF Bell Lightbox in Cinema 2 on May 8.
2015 @ the Movies take 55 : "Stripped (film)" This documentary explores the cultural significance of the newspaper comic strips in North America from Richard F. Outcault's Yellow Kid to Kate Beaton's web comics. The piece does a great job of presenting the evolution of the business model that supported the "Funny pages" for over a century through syndication. It is also your only chance to hear the voice a recluse comic-strip genius Bill Watterson(Calvin & Hobbes) who agreed to be interviewed. Scott McCloud astutely calls the alliance between newsprint and comic art a "shotgun wedding." This union has been unraveling in the last decade with the newspaper crisis. Luckily, new distribution models are emerging via the web that afford savvy cartoonists direct support from their readers. Catch it on Netflix! Experienced at TCAF - The Toronto Comic Arts Festival in Forest Hill Ballroom, Marriott Hotel on May 9.
2015 @ the Movies take 56 : "The Salt of the Earth" German director Wim Wenders invites us to explore the work of Brazilian photographer Sebastião Salgado. The documentary not only delves deeply into Salgado’s life, but is a magnificent showcase for his work of social photography. Salgado’s photography is both fascinatingly beautiful and heartbreaking. The second half of the film documents his work during the 1980’s famine in Sahel and the aftermath of the Rwanda genocide in the early 90’s. It’s a bit much to take in, but then the piece takes on a more hopeful turn. Even though the very last portion of the film comes as a relief, it also jarringly changes its focus towards ecology. It is almost as if Salgado had lost faith in humanity after documenting so much horror, and decided to focus on trees instead. Experienced at TIFF Bell Lightbox in Cinema 4 on May 9.
2015 @ the Movies take 57 : "Seth's Dominion" This documentary presents the work of premiere Canadian cartoonist Seth (Seth - Cartoonist). Seth's artistic vision is directly tied to places real or imagined. The documentary explores both through a visit of his workplace and animated sequences narrated by the author. Presenting comic art on film is always a challenge, and using animation is more than often a disastrous option. However, in this case, it very successfully conveys the spirit of Seth’s work. It is too bad that this film is not more widely distributed. It was a true privilege to experience it on the big screen in Seth’s presence. Experienced at The Royal Cinema - Toronto on May 10 as part of TCAF: The Toronto Comic Arts Festival.
2015 @ the Movies take 58 : "Welcome to Me" Much like in "Loveship, Hateship" (2013) this Kristen Wigg indy fare turns quirkiness into profound sadness. Once again, Wiig portrays a socially dysfunctional loner. The film aptly comments on manufactured fame, but stays away from the clichéd internet (un)success story gone viral. Wiig's character's obsession with Oprah leads her to build her fantasy on an actual TV set which is oddly vintage and refreshing. Well worth your time, but the "Bridesmaid" fans might get depressed. This has been a prepared written statement. Experienced at Moxie Cinema in theater 1 on May 12 with Susie Klieg.
2015 @ the Movies take 59 : "Mad Max: Fury Road" (3D) The Road Warrior reboot is a visual feast sprinkled with Alejandro Jodorowsky-level grotesque brilliance. The beginning is interestingly abstruse as most of the initial dialogues are not intelligible - heavy Australian accent on top of a made-up future cult dialect. However, it fails to deliver the cosmic payoff to be truly be "The Holy Mountain on Wheels." The plot is literally a u-turn which may point to the absurdity of the character's pursuit, but barely rivals an episode of the Wacky Races intrigue-wise. It's a pity the baroque imagery did not infuse the script writing more. Experienced at Regal College Station Stadium 14 in auditorium 14 on May 14 with Susie Furiosa & Mad Kurtis.
2015 @ the Movies take 60 : "En Équilibre" The title could translate as "A Balancing Act" - it portrays the struggle of horseback stuntman (Albert Dupontel) dealing with the aftermath of a film set accident that left him paraplegic. Rather than turning into a predictable physical therapy success story, the film focuses on the relationship of the lead character with his insurance rep (Cécile de France). When the film could easily dismount and sink into heavy melodrama, it is totally saved by the subtle performances of its two leads. Even the "be all you can be" philosophy of the lead character never becomes annoying propaganda. The film also knows when to end, and not in a radical French mid-sentence way, but a tad later, right before the dreaded Hollywood ending. Experienced at Gaumont Nantes in Salle 5 on May 17 with Marité et Roger Hamon. Sorry no official English title nor subbed trailer yet.
At my dad's request, starting with this review I will also include a French version each time, donc voilà la version française:
2015 se paie une toile 60ème prise : "En Équilibre" Le film décrit les difficultés d'un cascadeur équestre (Albert Dupontel) après un accident de tournage qui l'a rendu paraplégique. Au lieu de devenir une success story de réhabilitation sans suprise, l'histoire s'intéresse d'avantage à la relation entre le protagoniste et sa représentante en assurance (Cécile de France). Quand tout cela pourrait facilement virer au mélodrame sirupeux, c’est entièrement tenu par l’interprétation subtile des deux acteurs principaux. Même la philosophie “on n’a rien sans rien” du protagoniste ne tombe pas dans la propagande pompeuse. Le film finit aussi à point nommé en évitant une fin en milieu de phrase à la française ou une redoutée conclusion hollywoodienne. Vu au Gaumont Nantes dans la Salle 5, le 17 mai, avec Marité et Roger Hamon.
https://www.youtube.com/watch?v=8FWPnD3s_lU
2015 @ the Movies take 61 : "Un Pigeon Perché sur une Branche Philosophait sur l’Existence” (Swedish with French subtitles). For clarity’ sake let me provide the original title: "En Duva Satt på en Gren och Funderade på Tillvaron” - if your Swedish is rusty, it says: "A Pigeon Sat on a Branch Reflecting on Existence.” My parents told me : “It is not a film we can recommend to anyone because it is pretty weird, but we think you should see it.” I am not one to ignore parental cinematographic intimations. The film is made up of a succession semi-related scenes shot with a single fixed camera. It plays like the unlikely offspring of Les Deschiens, Monty Python and Igmar Bergman. Each vignette is brilliantly composed and drenched in a washed-out absurd tragic humor. There is no plot, nor intrigue yet it is oddly fascinating and thought-provoking. And yes there is a pigeon, but it is stuffed and on display in a sad museum. I am planning a repeat viewing, and highly recommend it to all adventurers of the silver screen. Experienced at KATORZA Nantes in Salle 5 on May 18 with a dead pigeon. Trailer with English sub:
And now something complètement français:
2015 se paie une toile 61ème prise : "Un Pigeon Perché sur une Branche Philosophait sur l’Existence” (Suédois avec sous-titres français). je vous rassure, le titre est aussi long en suédois: "En Duva Satt på en Gren och Funderade på Tillvaron.” Mes parents m’ont dit: “C’est pas un film qu’on ne peut pas recommander à n’importe qui parce que c’est vraiment bizarre, mais on pense que tu devrais aller le voir.” Je ne suis pas du genre à ignorer les conseils cinémas de mes aînés. Ça joue comme un croisement entre les Deschiens et les Monty Pythons à la sauce Bergman. Chaque scène est magnifiquement cadrée et emprunte d’une drôlerie terne, absurde et tragique. Il n’y a ni ’intrigue, ni histoire, pourtant c’est étrangement fascinant et profond. Et oui, il y a un pigeon, mais ce dernier est empaillé en expo dans un triste musée. Je projette de le revoir, et y convie chaudement tous les aventuriers du grand écran. Vu au Katorza Nantes dans la salle 5, le 18 mai, avec un pigeon mort. Bande Annonce VOSTF:
2015 @ the Movies take 62 : "Mad Max: Fury Road" (3D) - 2nd viewing with French subtitles! This time I could understand the opening dialogues thanks to the sub. It certainly added a bit more to the world building, but did not address the lightness of the plot. Still a fun ride that reestablishes the unique raw power of practical stunts. Go with your folks - especially if you had seen "Mad Max 2: The Road Warrior” together 30 years ago. Experienced at Gaumont Nantes in Salle 1 on May 20 with Roger Hamon. The trailer with French subs:
And now something furieusement français:
2015 se paie une toile 62ème prise : "Mad Max: Fury Road" (3D) - 2ème visionnage avec sous-titrage français! Cette fois-ci, j’ai pu comprendre les dialogues du début grâce aux sous-titres. Voilà qui aide la compréhension de ce monde, mais ne nourrit pas assez la très rudimentaire intrigue. Cela reste une virée sympa qui réaffirme l’impact unique des vraies cascades sans filet numérique. Allez-y en famille - surtout si vous aviez vu “Mad Max 2: Le Défi” ensemble il y a 30 ans. Vu au Gaumont Nantes dans la salle 1, le 20 mai, avec Roger Hamon. Bande annonce VOSTF:
https://www.youtube.com/watch?v=1GyXzJIPKdM
2015 @ the Movies take 63 : "La Lois du Marché” AKA “The Measure of a Man” is a film in the social realism tradition of "Two Days, One Night." The effects of unemployment and demotion are the center of this story. It is brought to life by a powerfully understated performance by Vincent Lindon. The rest of the cast is made up of non-actors which enhances the raw realism of the piece. Although the film doesn’t depict any graphic violence, it conveys a constant pressure that can be hard to bear. An uncomfortable reminder about the daily ordeal of many people just trying to get by in France or around the world. Expect a hopeless French ending. Experienced at KATORZA Nantes, France in salle 2 on May 21 with Anne Colombo, Roger & Marité Hamon. Trailer with English sub:
And now pour plus de réalisme français:
2015 se paie une toile 63ème prise : "La Lois du Marché” donne dans le réalisme social à la manière de “Deux, Jours, une Nuit.” Les effets du chômage et de la rétrogradation sont au centre de cette histoire. Le tout est porté par une superbe interprétation toutes en nuances de Vincent Lindon. Le reste des acteurs sont des non-professsionels ce qui ajoute au réalisme sans fard du film. Bien qu’aucunes scènes de violences physiques soient montrées, le film véhicule une pression constante qui peut être difficile a supporter. Un rappel peu reluisant des épreuves quotidiennes auxquelles font face beaucoup de gens en France ou ailleurs. Attendez-vous à une fin sans espoir à la française. Vu au KATORZA Nantes dans la salle 2 le 21 mai avec Anne Colombo, Roger & Marité Hamon. https://www.youtube.com/watch?v=Qop962e4M5Y
2015 @ the Movies take 64 : "La tête haute" AKA “Standing Tall” The perfect double-feature presentation to follow “La Lois du Marché” (see below). Director Emmanuelle Bercot explores the formative years of a young delinquent that a family court judge (Catherine Deneuve) tries to help. Although the filmmaking is less visceral and raw than “La Lois du Marché", the distress of the young Malony is very poignant. Much is owed to the primal performance of newcomer Rod Paradot. The glimmer of hope of at the end is a welcome, albeit short-lived, relief. Experienced at KATORZA Nantes, France in salle 3 on May 21 with Roger & Marité Hamon. Trailer with English sub:
And now la France d’en bas relève la tête:
2015 se paie une toile 64ème prise : "La Tête Haute” Le compagnon de soirée ciné parfait à “La Lois du Marché” (voir ci-dessous). Emmanuelle Bercot met en scène les jeunes années d’un délinquant qu’un juge pour enfant (Catherine Deneuve) essaie d’aider. Bien que le film n’est pas le côté brut et viscéral de “La Lois du Marché”, la détresse du jeune Malony est poignante. Tout le crédit doit revenir à l’interprétation primale du nouveau venu: Rod Paradot. La lueur d’espoir de la fin est un soulagement même s’il ne sera que de courte durée. Vu au KATORZA dans la salle 3 le 21 mai avec Roger & Marité Hamon.
2015 @ the Movies take 65 : "Slow West” A very impressive first film by writer-director John Maclean. The depiction of 19th century Colorado is raw and brutal à la "Deadwood"or "The Homesman". However, the plot knows to digress to gives us glimpses of the diverse groups of people crisscrossing the state. My favorite scene is when the two protagonists run across two French-speaking Africans singers in the middle of nowhere. In that scene a slight connection is made, but in most cases the incommunicability dominates and spawns tragedy. The inability to process other gazes, languages and cultures is too often met with bullets. Sounds familiar? Yes, we are still working on that one. Worth catching on Netflix if you missed your chance to see it on the big screen. Experienced at Moxie Cinema the on May 27 in theater 2.
https://www.youtube.com/watch?v=H7u7X1ejGTI
https://www.youtube.com/watch?v=H7u7X1ejGTI
And now something lentement français:
2015 se paie une toile 65ème prise: “Slow West” un très bon premier film du réalisateur et scénariste John Maclean. La peinture du Colorado au 19ème siècle est crue et brutale dans l’esprit de "Deadwood” ou “The Homesman.” Cependant, l’histoire sait s’adonner à la digression pour nous présenter par touches la diversité des gens qui sillonnaient l’état. Ma scène préférée reste cette rencontre inopinée avec un duo de chanteurs africains francophones en pleine nature. Dans cette scène une connection ténue s’opère, mais dans la plupart des cas l’incommunicabilité prévaut et sème la tragédie. L’incapacité d’appréhender un regard, une autre langue ou culture se solde trop souvent par des coups de feu. Ça vous rappelle quelque chose? Oui, on a toujours du chemin à faire de ce côté là. Chopper le sur Netflix si vous l’avez manquer en salle. Vu au Moxie Cinema le 27 Mai dans la salle 2. Désolé, y’a pas encore de bande -annonce en VOSTF:
2015 @ the Movies take 66 : "Aloha Movie" The opening sequence of the trailer that does not seem related to the rest of the film is actually [Spoiler] the end of the movie! Well, not the exact end because 2 more endings are behind it. Do we have a focus problem? What is this film even about? A military romance? Hawaiian native pride? The return of the space race? All of the above, none of the above, I am very confused now. Bradley Cooper and Emma Stone do their best to navigate this mess of a script, but to no avail. I am usually all about writer-directors and their singular creative visions, but Cameron Crowe needs feedback on his draft. He recently apologized for casting Emma Stone as an Asian-American character in the film. I think he should just apologize for putting out such a weak film. To top it off, I just found out the official "French" title of this gem is "Welcome Back" (coming to France September 2), like "Aloha" is too hard to pronounce. Experienced Regal College Station Stadium 14 at on May 30 in Auditorium 3.
Check out the French dub of the trailer below :)
And now for something de bienvenu à nouveau:
2015 se paie une toile 66ème prise: “Aloha” La scène d’ouverture de la bande annonce, qui n’a pas l’air rattaché au reste du film, n’est autre que [Spoiler (Gâchage)] la fin du film! En fait, pas exactement parcequ'il y a deux autres fins après. On s’éparpille un peu? C’est quoi ce film? Une romance militaire? Un plaidoyer pour les indigènes hawaiiens? Le retour de la conquête spatiale? Un peu tout ça, pas vraiment tout ça, j’en perds mon latin. bradley Cooper et Emma Stone essaient tant bien que mal de garder le navire à flot, mais sans grand succès. Je suis habituellement un ardent défenseur du film d’auteur avec un vision singulière, mais là Cameron Crowe a besoin de retravailler son brouillon. Il a récemment fait ses excuses pour avoir donner à Emma Stone le rôle d’une américaine d’origine asiatique. A mon avis, il aurait dû s’excuser pour l’ensemble de ce navet. Et pour couronner le tout, je viens d’apprendre que le titre “français” official de ce joyaux est “Welcome Back” (sortie prévue le 2 septembre), comme-ci “Aloha” était trop dur à prononcer. Vu au Regal College Station Stadium 14 le 30 mai dans l’auditorium 3.
La bande annonce de “Welcome Back” doublé en bon français:http://www.allocine.fr/…/player_gen_cmedia=19552757&cfilm=2…
2015 @ the Movies take 67 : "Far From The Madding Crowd" A classic Thomas Hardy love quadrangle that manages to convey the pastoral textures of Hardy's prose without sinking into picturesque corniness. Carey Mulligan is convincing as a farming proto-feminist. Casting Matthias Schoenaerts as the brooding shepherd was a great idea. However, his raw physicality could have been exploited further. Michael Sheen's performance has his upper-crust foil is the surprise hit of the picture. With limited screen time, he manages to convey a genuine sense of tragic heartbreak. Experienced at Moxie Cinemaon May 31 in Theater 1 with Terry Miller Barakat and Josh Wimborne.
And now something en français déchainé:
2015 se paie une toile 67ème prise: "Far from the Madding Crowd” alias "Loin De La Foule Déchainée” un quadrilatère amoureux tiré du classique de Thomas Hardy qui parvient à retranscrire la texture pastorale de la prose d’Hardy sans sombrer dans le pittoresque cucul la praline. Carey Mulligan est convaincante en fermière proto-féministe. La choix de Matthias Schoenaerts pour le berger au regard troublant est une excellente idée. Cependant, son physique brut de décoffrage aurait mérité d’être mis plus en valeur. La performance de Michael Sheen dans le rôle de son homologue aristocrate est la vraie bonne surprise du film. En très peu de scènes, il véhicule sa tragédie amoureuse avec un touchante justesse. Vu au Moxie Cinema le 31 mai dans la salle 1 avec Terry Barakat et Josh Winborne. La bande annonce VOSTF:
