Brad Pitt and Marion Cotillard don’t have a lot of Allies in the French press… – Le Figaro

PRESS REVIEW - The last feature film by director Robert Zemeckis does, with a few exceptions, not at all seduced the critics in france. Compilation murders.

Accustomed to the success, Robert Zemeckis (Back to the future, Forrest Gump, Alone…) would he have lost with Allies? However, as explained in France Info, the film “had everything to succeed.” With an oscar-winning director, the film was announced as a pledge of quality. But “everything sounds fake in this melodramatic history which begins in 1942, in a Casablanca of cardboard, in full German occupation.”

The daily newspaper The World, there is an emphasis on the obsession of the director for the synthesized images. “As others have in their time tried to find the philosopher’s stone, the mad scientist of the synthetic image has not ceased to work.” The film boils down to a “review of Casablanca, by Michael Curtiz (1942), in the form of an adventure movie like a cartoon, Allies proceeds directly from this same fantasy”, with a “whirlwind of digital images”, where “artifice reigns supreme”.

For The Express, the film “takes the audience for morons”. Simply. Harsh words, denounce “a turnip deep” featuring the poster of Brad Pitt and Marion Cotillard. “Not a scene intriguing, not a gram of suspense, no glamour, no sour cream, no curtain rod, no leash for the dog. Absolutely nothing.” A total fiasco, so. “The scenes go by, boredom remains. A performance. Especially for a film of adventures with spies. (…) The first time is therefore a total failure. The second is better because the failure is total. Yes, also. But it is better because after it is finished. We can wake up.”

Even the sound of a bell on the side of the weekly Le Point, which gives a “zero pointed in alchemy” the duo Cotillard – Pitt. In particular, for the focus of the ex-husband of Angelina Jolie… “Our eardrums bleed in the scenes where the secret agent canadian (Brad Pitt) must pretend to be the husband parisian Marianne Beausejour (Marion Cotillard).” However, the project looked promising. “On paper, we buy. On the screen, it végète!”

Only Allies from the film The new yorker and Le Figaro. If the first “can only invite the reader to take a ticket for the movie” to enjoy this “aesthetic to the” old, with “a scenario of the show, and good actors”, and the second argues that “alchemy is at the rendez-vous”. And this, even if the emotion is not the case of the director. The pace, the winks, the more concerned. That is what it was well, isn’t it, the cinema in the 1940′s and whatsoever!”