The choice of “Obs”
♥♥♥ “Toni Erdmann” by Maren Ade. German comedy with Peter Simonischek, Sandra Hüller, Michael Wittenborn (2:42).
music teacher with little students, Winfried is useless, if not make jokes the factor to watch over his mother and his old dog, one and the other bad shape. For her family, it is embarrassing. In the eyes of Ines, his only daughter, triumphant representative of modern Western societies, it is very likely already dead.
To his confusion, Ines, senior executive based in Bucharest responsible for establishing restructuring plans (how fired the most employees to put more full excavation), soon understands that he is not yet buried: the day after a family party that allowed them to find a once again they had nothing in common, she sees invite in his life without warning.
This is a new and very predictable fiasco, but the cumbersome father does not let go case: sporting a wig and false teeth, he invents Toni Erdmann, grotesque character tumbles in every turn red cloth waved before the white Ines, whoopee cushion placed under her buttocks executive woman ready to swallow everything to the little oven on which her lover has masturbated in advance.
CANNES. “Toni Erdmann,” The Bluff So yes, it’s funny, and it is an event: a German comedy that does not make laugh that the Germans had not seen it since Lubitsch, ie not from a straw (it applied the film has nothing in common with those of the Berlin master, no offense to some kind pranksters made their Cannes vapors climb the coconut hasty comparisons).
CANNES. Hysteria “Toni Erdmann” The strings pulled by the writer, producer and director are those of the vaudeville genre whose effectiveness is not questionable when it is served with judgment and grace of two virtuoso performers: blood Simonischek Peter and Sandra Hüller, whose complexion, in agreement with the surgical thought his character, led to doubt the nature of the fluid that flows in the veins of Ines.
as she says herself Similarly, Ines would bear nothing of these events if she was a feminist, and probably would not accept his professional mission if it had preserved in her a gram of humanity. This humanity that his father wakes jester in it, that’s a good argument to own seduce any moral it is. So, we hardly dare suggest that mounted more aggressively, the film would not have been less convincing. Pascal Mérigeau
♥♥ “Star Trek limitless” by Justin Lin. American science fiction film starring John Cho, Simon Pegg, Chris Pine, Zoe Saldana (2:02)
What is it? The third, fourth reboot of the series? We get lost. Since 1966, Captain James Kirk and the crew of the “Enterprise” roam in space – new frontier – and bastonnent the evil aliens. The creator, Gene Roddenberry, died in 1991, but it never worked so hard. Every year, we are treated to a new version of “Star Trek”
Here is Justin Lin, the director of “Fast & amp; Furious” (numbers 3, 4, 5 and 6), which sticks to: our heroes are attacked by bees steel manipulated by Krall, a super-top-bastard really ugly. And the flagship crashes on an unknown planet, ouch, ouch, ouch, with a faulty clutch. It’s serious. But, no problemo, our lil guy will get by with an air of rock’n’roll (Beastie Boys) and tons of special effects.
Neither better nor worse the previous films, “Star Trek without limits” fills the agreement and tick all the boxes. There are gags, a little suspense, lots of action, and we learn that Sulu, helmsman of the Asian ship is gay. Fans will be delighted. The other, blah. François Forestier
♥♥♥ “Last train to Busan” by Yeon Sang-ho. South Korean action film with Gong Yoo, Kim Soo-year, Jeong Yu-mi (1:58)
an ecological catastrophe has the effect of” zombify “a part of the population. Financial and young daughter understand the train that takes them to Busan on the south coast of Korea, where the virus has not yet hit.
Presented in a midnight screening at last Cannes Film Festival, this film has all the ideal blockbuster. He is intelligent, lively and brilliantly combines formal (grouped zombie attacks are impressive) and human issues. It was feared that the image of the train in which survivors and mutants are locked, the plot remains wisely placed on its rails, a little trapped in her program. Or staging always matter to push the boundaries of the genre, often with brief images, dry and chilling (these attacks stifled by Plexiglas portholes and the train speed, the heroes barely distinguishable) or ingenious scenario finds: the rise of wagons “infected” by a handful of survivors is an invention model
do not spoil, the film succeeds catastrophe political analogies. it is difficult not think of the division of the two Koreas, the nuclear threat from North and South stiffening government. Guillaume Loison
♥ “Moka” by Frédéric Mermoud. French drama with Emmanuelle Devos, Nathalie Baye, David Clavel, Samuel Labarthe (1:29).
All that Diana knows about the death of his son is the teenager was hit by a car mocha color.
for months, she tries to find the driver, without hearing her husband, without following the advice of the private detective she hired.
and here she spots the car, for sale by its owner, and meets the wife of the latter, Marlene, beautician, she soon becomes convinced that she is responsible for his misfortune .
that the current passes between Emmanuelle Devos (Diane) and Nathalie Baye (Marlene) forget at times that the plot from a book by Tatiana de Rosnay, can have predictable and flatly sentimental. But the film succeeds as far never to rise above the level of a very ordinary production. P. M.
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