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A man (Barr) falls in love from afar with a woman (Winter), who has just broken up acrimoniously with her husband and is disgusted with all men except her gay friends. So he pretends to be ... See full summary »
Leslie Nielsen once again plays a bumbling detective in the vein of the 'Naked Gun' movies, but this time as Marshall Richard 'Dick' Dix. When odd reports are received through official ... See full summary »
In this Franco-Italian gangster parody, a shop keeper on his way to an Italian holiday suffers a crash which totals his car. The culprit can only compensate his ruined trip by driving an ... See full summary »
Louis de Funès,
A RAF Bomber is shot down over Paris by the Germans. Its crew (Terry Thomas as a flight captain) land there by parachute. With the help of some French civilians (Louis De Funès in the role ... See full summary »
A second-class horror movie has to be shown at Cannes Film Festival, but, before each screening, the projectionist is killed by a mysterious fellow, with hammer and sickle, just as it happens in the film to be shown.
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Leo Vincey receives a map from his late father, leading him to the legendary city of Kor in search of an explanation for his mysterious ancestry. He is accompanied by his girlfriend Roxanne... See full summary »
If you have never seen this French movie, you frankly don't miss anything. There are at least five major shortcomings to enable you to skip "tout doit disparaître" without any regret.
First of all, it is obvious that when you shot a movie with very
restricted means (the scenery and certain parts of dialogs seem extracted from a sitcom. Moreover, there are only five important actors plus a handful of extras), the result can't be convincing.
Then, the actors are really bad, especially Yolande Moreau. But the prize
of the worst actress arguably goes to the non-existent, the inexpressive, the colorless Ophélie Winter. Why on earth did she have to get involved in that business?
The making is far from making up for the whole: it is flat, it lacks of
liveliness and Philippe Muyl, the director neglected two significant details that would probably have contributed to the success of this comedy: the grain of madness and the logic of absurd humor.
So, if the director had used the two quoted details, the script in its
general line could have given birth to a relevant black comedy. But it is not the case. There are too many predictable sudden new developments and the scriptwriters go from one idea to another without any logical liking and with a certain clumsiness.
At last, the movie doesn't work because it uses stereotyped characters:
Yolande Moreau is perhaps rich but she is ugly. As for Ophélie Winter, Didier Bourdon's secretary, the authors introduce her as a ravishing character.
In the end? There's nothing left but a flop. A British filmmaker like Charles Crichton would have been the perfect man for the job. Besides, the very end of the movie (when all the characters are on the plane) is an allusion to "A Fish Called Wanda" (1988).
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