Change Your Image
Upload An Image
Crop And Save
I am a French film buff. I like to escape through cinematographic works that I systematically see 1) with a minimum of information so as not to be influenced at all by critics and / or crippling spoilers, and 2) in the original language, with subtitles eventually.
I particularly enjoy directors like Akira Kurosawa, Alain Resnais, Alejandro G. Iñárritu, Alfred Hitchcock, Andrei Tarkovsky, Asghar Farhadi, Bertrand Tavernier, Charles Chaplin, Christopher Nolan, Claude Chabrol, Clint Eastwood, David Fincher, Denis Villeneuve, Federico Fellini, Frank Capra, Fritz Lang, Guy Ritchie, Hayao Miyazaki, Henri-Georges Clouzot, Ingmar Bergman, James Cameron, Jean-Pierre Melville, John Ford, Krzysztof Kieslowski, Louis Malle, Michael Mann, Orson Welles, Peter Jackson, Philippe Lioret, Quentin Tarantino, Sergio Leone, Sidney Lumet, Stanley Kubrick, Tex Avery, Woody Allen, ... as a not-exhaustive list ...
My actual list of 10/10 movies is: 12 Angry Men (1957), A Clockwork Orange (1971), Alien (1979), Citizen Kane (1941), Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb (1964), Dunkirk (2017), Heat (1995), King Kong (1933), Modern Times (1936), One Flew Over the Cuckoo's Nest (1975), Psycho (1960), Pulp Fiction (1994), Se7en (1995), Star Wars (1977), The Empire Strikes Back (1980), The Departed (2006), The Great Dictator (1940), The Hustler (1961), The Lord of the Rings (2001, 2002, 2003), The Shawshank Redemption (1994), Twelve Monkeys (1995), Unforgiven (1992)
As a post-script, I love IMDb. Despite its imperfections, it's clearly a worldwide reference. In order to improve its credibility, I think the IMDb team should harden the notion of 'regular' user, one of the main objectives being to evacuate the ratings with a lack of relevance and/or honesty. Thus, if you are not a 'regular' user, yours ratings, reviews and tutti quanti should then be at least categorized or even literally ignored. To be categorized as a 'regular' user, 1) your set of ratings must be sufficiently quantitative, i.e. above 500 a priori and 2) the distribution curve of your ratings must follow these basic rules: 2.1) It must be a Gaussian-like curve. 2.2) If you see everything or if you choose your movies randomly, your Gaussian should be centered on 5,5. Since this is probably not the case, it will probably be centered on a higher value like 6 or even 7. But definitely not 8 or 9!2.3) Your ratings should not be from 6 to 9 for instance. They must be really from 1 up to 10. In this respect, an even number of notes is an excellent decision: thus, for the average movies (the majority actually), it is imperative to choose between 'average disappointing' (5/10) or 'average good' (6/10). It forces you to make up your mind.
What was the point?
Documentaries are usually not my cup of tea. And the story of a man who was a monk during four years and who cooks today according to the allergies of his entourage, including his son, that's definitely not thrilling. I had forgotten my pillow. Therefore, I left the movie theater after 20 minutes. Sorry...
The Mustang (2019)
A lovely tale
Yesterday evening, I saw this film at a premiere in the presence of the actor Matthias Schoenaerts, the director Laure de Clermont-Tonnerre, the producer Alain Goldman and part of the film crew, within UGC Les Halles, in Paris. Laure de Clermont-Tonnerre and Alain Goldman briefly mentioned the manifold difficulties of the making a first film abroad. In the audience, women were clearly under the spell of Matthias Schoenaerts...
Without unduly spoiling the script, Roman Coleman (Matthias Schoenaerts) is incarcerated for aggravated violence. After a decade in prison, most under total isolation, he has the opportunity to benefit from a rehabilitation program involving the training of wild mustangs. But before controlling a wild beast such as a mustang, first you must be able to control yourself. And that's definitely the point. Thus, we see Roman (the prisoner) and Marquis (the mustang) taming to each other, as the fox and the little prince (Antoine de Saint-Exupéry, 1943).
The script is certainly simple and predictable but the cast is excellent, the actor Matthias Schoenaerts enjoying a legendary charisma and a remarkable aura. He is also perfectly seconded by Jason Mitchell and Bruce Dern. In fact, I was particularly moved by the message of hope that transpires throughout the entire film, a prison being generally reduced to a status of « let's hide the dust under the carpet », that is to say that as long as the scum is in jail, the society will feel better (it is certainly a plus) but without really worrying about the after-jail (that's weird, isn't it?)
As a synthesis: a lovely tale brimming with humanity. 7/8 of 10
Murder Mystery (2019)
An ersatz of Agatha Christie
It's looks like a novel from Agatha Christie but weirdly transformed in an ordinary soap opera.
With an inadmissible delay, an American redneck (interpreted by Adam Sandler) offers the long-awaited honeymoon to his beloved wife (interpreted by Jennifer Aniston). During the flight, they meet a rich heir (interpreted by Luke Evans) who offers them to enjoy his yacht, anchored near Monaco. Between a bus and a yacht, this is obviously a Cornelian dilemma. To everyone's surprise, the American couple chooses the yacht! And then, on board and on land, the murders will follow one after the other, at a frantic pace, until the American redneck elucidates the enigma despite the barely-intuitive intervention of a French cop (interpreted by Dany Boon).
As a synthesis: it's worth a try with low expectations. Except for the unbearable presence of the gorgeous Gemma Arterton. I truly behaved like the Tex Avery's wolf in each of her scenes...
La femme de mon frère (2019)
A moving and captivating movie
Yesterday evening, I saw this excellent film at a premiere in the presence of the director Monia Chokri and part of the film crew, within UGC Les Halles, in Paris. During her short presentation speech, she synthesized her film as an autofiction, the autobiographical part remaining undisclosed. She also seemed intimidated and touched by the presence of the audience, in a crowded movie theater.
This film is a cinematographic UFO with exquisite dialogues and endearing characters: Sophia (Monia?) has lived too long in the family cocoon, in total symbiosis with her brother Karim, and after a doctoral thesis of a blatant uselessness, she painfully finishes her adolescence at 35, awkwardly discovering that she must learn to live by herself and for herself, without her family, with a 10-year lateness somehow, the trigger event being the unexpected arrival of the gorgeous Eloise in the life of her brother.
A nice and elegant first movie from Monia Chokri, a young director with a great career ahead of her, undoubtedly.
Zombi Child (2019)
Soporific development despite a nice ending
Although the last twenty minutes are breathless, the introduction is languishing and lasts eighty minutes: one has overall the impression that the mountain has brought forth a mouse. The very ending is interesting but you'll have to be patient... very patient...
Ten Years Japan (2018)
A compile of five Japanese short films with one common point: let's imagine what Japan could be in a decade. The dystopian atmosphere is freely inspired by the excellent series Black Mirror (2011) available on Netflix. I globally appreciated the five opuses, especially the first one (Plan 75) and the third one (Data), even if the compile globally lacks of inventiveness.
They Live (1988)
They live... We slumber...
I discovered very lately this legendary film, during an « UGC culte » evening, in Paris. They Live (1988) has certainly aged a lot but the diatribe against the exacerbated consumerism of the 70s and 80s is sadly still relevant. A decade after the well-known Halloween (1978), John Carpenter delivered a smart and well-built movie. Nowadays, it's definitely cult and a must-see!
To Be or Not to Be (1942)
An indecent masterpiece
As Adolf Hitler starts ravaging Europe, a polish theatrical Nazi-satire is cancelled, the day of the very first performance. Nevertheless, while Poland is invaded by the Nazi army, the same theatrical team, with the same German soldier costumes, will deliver the best play of their entire career in order to thwart the actions of a spy.
This cinematographic gem directed by Ernst Lubitsch is built on a solid script, exquisite dialogues, and outstanding actors, especially Jack Benny, Carole Lombard and Sig Ruman. For obvious reasons, this indecent movie was initially coldly received: a comedy about world war II during world war II. This bitterness and/or bewilderment probably explains the blatant lack of nominations to the main Oscar categories. However, nowadays, we only remember the genius.
In bulk, ones of my favorite quotes: May I have your autograph, Mr Bronski? So they call me Concentration Camp Ehrhardt? To be or not to be. If we should ever have a baby, I'm not so sure I'd be the mother. They named a brandy after Napoleon, they made a herring out of Bismarck, and the Fuhrer is going to end up as a piece of cheese! Shall we drink to a blitzkrieg? Hey, wait a minute, you go to the hotel and I'll cross my fingers. I'm a good Pole and I love my country and I love my slippers. We do the concentrating and the Poles do the camping. Well, clearly it's nothing alarming, it's only Shakespeare. I'm willing to die for our Führer, at any moment, except for the next few hours. Schultz!
Men in Black: International (2019)
Welcome in a world devoid of inventiveness!
To maximize the audience, a blockbuster must now federate all the « categories » (I truly hate this word) of the world population with all the skin colors, all the sexual orientations, all the religions, ... as well as women in an environment a priori reserved for men, and for men only: the men in black. It will easily please the fair sex, thanks to a time-honored recipe. Not to mention a successful Computer-Generated Imagery. The result? Dull, blank and without any soul! A typical loose consensus based on a far-fetched script: wanting to please everyone, Hollywood bores everyone. Welcome in a world devoid of inventiveness!! At the risk of appearing grumpy, the original Men in Black (1997) was infinitely more enjoyable!
Charlotte a du fun (2018)
A breath of fresh air
Director Sophie Lorain offers us an excellent film with a dynamic rhythm and talented actors, about a world of teenagers who almost behave like adults despite a behavior sometimes irreverent. This film is mainly about love between these different teens, especially Charlotte interpreted by Marguerite Bouchard, an endearing, uninhibited and radiant teen.
Lune de miel (2018)
Stereotyped and boring
Anna: she is a stifling spouse and a mother suffering of an excessive adulation for her newborn. She is globally ingenuous / childish, and she is able to overreact unpredictably. A pain in the neck or a living nightmare: your choice! Adam: although ultra-adorable, we wonder how he puts up with Anna, throughout the entire film. The ideal husband, no doubt! Together, they live in Paris and are invited to commemorate the seventy-fifth anniversary of the destruction of the birth village community of Adam's grandfather, in the very heart of Poland.
It's well played, especially with Judith Chemla and Arthur Igual, but the film drags on excessively and is sometimes almost soporific, because of cheesy dialogues and a script with a blatant lack of originality. Thus, the scene with Irene and Anna, at the birthplace of the grandmother, is supposed to be, I think, an outstanding opportunity for a mother-daughter catharsis. But it just falls through. Knowing that we barely stand Anna for one hour, how to empathize with her, even during a few minutes?
As a postscript, I did not understand the movie title. At all! Dixit Wikipedia, a honeymoon is either a holiday taken by newlyweds immediately after their wedding, either the lunar month following the wedding. I was not aware of the second part of this definition. However, we repeatedly hear that they go to Poland to commemorate a painful event related to World War II. So... could anyone explain the relationship between World War II and a honeymoon?!? Is this supposed to be funny?... philosophical?... spiritual? Well, well, well, for sure, it's messy!
The Perfection (2018)
Another movie with a dummy scenario. It's really disappointing because, even if it's definitely not a masterpiece, the film is rather well done and well interpreted. Nevertheless, it's crippled by a script polluted with a few completely far-fetched plot twists.
So... when Lizzie cuts her right arm with a butcher knife, Charlotte has a satisfied or even perverse look. In fact, we may think that she acts so out of jealousy. Moreover, everything is done to make the audience thinks in this way. But, this behavior was driven by empathy and kindness: she tried to save her new best friend. Of course!... Uh ... how to say it gently? That's desperately appalling!
With a scriptwriter worthy of this profession, the movie might have been immeasurably better.
Sympathetic live extracts polluted with appalling comments
Documentaries are usually not my cup of tea. And Rolling Thunder Revue: A Bob Dylan Story by Martin Scorsese (2019) is sadly one of them, with an annoying alternance of live performances of Bob Dylan (yes!!!) on the first hand, and monologues or conversations as superficial as pointless (no, no and no!) on the second hand. This is probably reserved for hardcore and unconditional fans of « Bob Dylan + Martin Scorsese », no matter what. For instance, we learn that Bob Dylan smokes with, I quote, an « European style », thanks to a John Doe. Really ?!!? Just missing a scene during which Bob Dylan reads an antique phone book, with a female blonde carefully listening and concluding with « that's interesting ». In fact, this scene almost exists: Bob Dylan discusses about mental marriage with a woman who obviously wants something more than this discussion. Thus, I gave up after 30 minutes and I left this documentary in background music despite the appalling blah-blah-blah. As a synthesis: not for me, and, a posteriori, a cd or a live Blu-Ray of Bob Dylan would have been undoubtedly a better choice.
Organic is outmoded. Organic with Cyrano is the new trend!
A nice and elegant surprise from Mélanie Auffret, a young director with a great career ahead of her, undoubtedly. It's a poetic and surrealistic tale in the Côtes d'Armor, north of Brittany, with Raymond as a main protagonist. He is an organic farmer who regularly and secretly reads Cyrano de Bergerac (Edmond Rostand, 1897) to his hens. In front of an imminent threat of bankruptcy, Raymond will have to work twice as hard. In this respect, he will develop his passion for theater so that the public gives an overwhelming support to his talent and thus gives credibility to its agricultural activity! Although sometimes patchy, this movie is built on a strong and original script, and the actors are talented, especially Guillaume de Tonquédec. As a synthesis, 6/7 of 10.
Kamera o tomeru na! (2017)
A gem despite a slow start
The first twenty minutes are disconcerting and are almost an invitation to leave the movie theater, cursing the friend(s) who invited you to see this movie. Nevertheless, after the introduction, the movie is quite hilarious. If you like zombies and comedies, this movie is right for you!
As a postscript, according to IMDb, the budget is about 25.000 USD. Incredible!
A frustrating and disappointing psychological thriller
A patchy and irregular film crippled by a script written on a tiny Post-It with a few completely far-fetched plot twists that I will leave untold so as not spoil the movie. The cast of this American film is notably composed of Isabelle Huppert, one of the most famous and talented French actresses, with Romy Schneider, Catherine Deneuve, Stéphane Audran, Simone Signoret or Marion Cotillard. Although she is gorgeous, she vainly tries to save this literally incredible movie, not to mention Colm Feore or Stephen Rea, two secondary actors in this movie that we do not see often enough on the screens. With a scriptwriter worthy of the profession, the film would have been significantly better. Moreover, I have really a hard time recognizing the style of the director of The End of the Affair (1999), Interview with the Vampire: The Vampire Chronicles (1994) or The Crying Game (1992). As a synthesis: frustrating and disappointing.
Hannibal Rising (2007)
A prequel based on an European road trip and revenge
Strange opus with a rather complex feedback: I really like certain aspects of the film while others bother me. First of all, I think it's a critical mistake to explain the origins of an imaginary evil character. Indeed, it's always better to confine a reader or a spectator to the darkness so that he's always able to imagine the worst. Moreover, in doing so, we find ourselves in a rather embarrassing situation of being in empathy with Hannibal Lecter: failing to be forgivable, a revenge is always understandable. Despite this rather negative introduction, the actors are excellent including the enigmatic Gaspard Ulliel and the gorgeous Li Gong, and the film enjoys a particularly neat photography.
A blockbuster with a colossal budget of $90 million according to IMDb, but everything rhymes with cheapness: the dialog, the script, the plot twists, the soundtrack, ... It looks like a tv movie we may watch during a rainy Saturday afternoon, with a bad cold.
Class struggle. After Karl Marx and Victor Hugo, here is Joon-ho Bong
This cinematographic gem has been recently rewarded by the prestigious Palme d'Or at the Cannes Festival. If I have one and only one advice to give you: go savor this fabulous movie with a strict minimum of information! Indeed, this film might schematically be split in two parts, the second one being quite surprising and unpredictable. The script is excellent and the casting is globally sumptuous, especially the gorgeous Yeo-jeong Jo for whom I may confess I have a crush.
As a postscript, an anecdote certainly insignificant but literally astonishing when you're French: in the middle of the film, the proletarian family gives itself up to an orgy, the coffee table being covered with manifold dishes including two French cheeses as industrial as cheap: « Le rustique » and « Bresse bleu ». Unbelievable!
La paranza dei bambini (2019)
Nature abhors a vacuum
This afternoon, I discovered this rather interesting film without having preliminary read the eponymous book written by Roberto Saviano and published in 2018: a band of eight teenage boys still eating chocolate cookies and arguing with the little brother when a packet of biscuits was emptied without their preliminary agreement, take opportunely advantage of the fall of the Mafioso of their Neapolitan district to become caliph instead of the caliph, like Iznogoud in the famous cartoon created by René Goscinny and Jean Tabary, but with ethics and values like Vito Corleone played by Robert De Niro in The Godfather: Part II (1974). I recognized the mesmerizing atmosphere of Naples, with its manifold alleys as hilly as lively. Moreover, the cast is overall of high quality, especially the main actor Francesco Di Napoli.
Time Lapse (2014)
One reaps what one sows
When you're the scriptwriter of a movie dealing with time travel, the easiest and cheapest way is to write a script built with protagonists as moronic as pathetic. Let's name them Callie, Finn and Jasper. Then, the plot twists will follow one after the other, at a frenetic pace, until Callie, Finn and Jasper ineluctably lost control like Juliet, David and Alex in Shallow Grave (1994). Although the first twenty minutes are rather encouraging, the last thirty ones are disappointing and almost appalling.
Entertaining: almost. Predictable: always. Cheesy: sometimes. Scary: not really.
Beyond a far-fetched and almost-laughable script, the actors play pretty well, especially Octavia Spencer, Diana Silvers and Juliette Lewis. The introduction is languishing, lasts about an hour and one has overall the impression that the mountain has brought forth a mouse. Although I obviously do not belong to the intended audience which is probably narrowed to teens, it's worth a try with low expectations.
Dark Phoenix (2019)
The end of a saga?
I watched Dark Phoenix (2019) Wednesday evening and I globally liked it. In matter of Computer-Generated Imagery, this movie clearly benefits from the same level of quality than the three previous opuses of the current saga. Nevertheless, although the script globally holds water, it's definitely not breathtaking, and I continue to feel the same fatigue initiated during the third opus, X-Men: Apocalypse (2016). Thus, X: First Class (2011) was thrilling but Dark Phoenix (2019) barely conveys emotion, with a few scenes as dull as blank during which I was very nearly bored. Finally, the elaboration of the Phoenix certainly differs from the old trilogy (2000 to 2006) and I admit having a strong preference for the previous Jean Grey played by the gorgeous Famke Janssen.
Otherwise, a little hint of irritation. June the 6th, 10:00 AM Paris time, we may count a total of 2900 voters, with two groups as extremist as weird: 20% of 10/10 and 16% of 1/10. Honestly? The credibility of IMDb is at stake! The IMDb team should urgently harden the notion of 'regular' users, one of the main objectives being to evacuate the ratings with an obvious lack of relevance and/or honesty given by 'weird' users who pollute this website.
Les particules (2019)
What happens in CERN, stays in CERN
A modern fable in which 'Twilight zone' events occur around CERN: a failed scientific experiment or an excessive consumption of hallucinogenic mushrooms? Frankly, I do not know but I guess you should precede this cinematographic performance with a dose of ecstasy in order to understand or even get absorbed in this psychedelic and mysterious atmosphere full of apathetic and pimple-faced teenagers. The result is globally frustrating but for a first film, it remains promising.
Subtle, dynamic and efficient!
This excellent series slightly looks like Breaking Bad (2008), in a teens version, with the nerd #1 Moritz Zimmermann instead of Jesse Pinkman and the nerd #2 Lenny Sander instead of Walter White, Jr. but without Walter White aka Heisenberg who is probably hidden somewhere... online. Walter White had initiated a methamphetamine trafficking in order to offer a fortune after his imminent death to his family, and Moritz does the same to lure his forever love back. That makes sense, doesn't it? The script is certainly far-fetched, but this observation is clearly secondary: the actors play excellently and the six episodes follow one after the other, with a dynamic rhythm. Finally, the humor is German typed: definitely not hilarious but subtle and formidably effective.
As a postscript, I'm French and I watched this German series with English subtitles. Why? Well, I'm not fluent enough in German and Netflix behaved like a loathsome skinflint by limiting the subtitles to English. Honestly? That was weird!