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THE EVENT
DEADPOOL & WOLVERINE ★★★☆☆
By Shawn Levy
The essential
Vulgar, trashy but never incorrect, the third episode of Deadpool is exactly what we expected from it.
Only one movie in 2024, but what a movie! The MCU had found its savior: Deadpool, the loudmouth mercenary, finally integrated into Disney's big five-year plan, associated with Wolverine/Hugh Jackman, never recast since the first X-Men a quarter of a century ago… The parable of the fusion between the trashy style of Deadpool and the top quality Marvel blockbuster. And the film perfectly achieves its goal. Imagine an extreme version of Doctor Strange in the Multiverse of Madness, carried by the flow of Deadpool's hyper crude jokes. Very vulgar, but absolutely not incorrect, to the point that one would swear they were written with the validation of a law firm. Deadpool & Wolverine is not at any time considered as a reflexive act towards the MCU. Its cinematic horizon is rather to mount big slow-motion action scenes against a backdrop of pop music (GreaseMadonna). The gently punk delirium of the first two parts has given way to flawless professionalism. By moving under the Disney flag, Deadpool has not become the king's jester but a joyful member of the official team.
Sylvestre Picard
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FIRST LIKED
GOODBYE MONSTER ★★★☆☆
From Jianming Huan
Sylvestre Picard
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FIRST TO MEDIUM LIKED
THE IMMORTALS: BEYOND THE PHARAOHS ★★☆☆☆
By Michele Mally
In the secrecy of the Museo Egizio, Jeremy Irons once again flourishes as a storyteller, a role that has often fallen to him since the 1980s. After Napoleon, volcanoes and a handful of animals for National Geographic (among others), it is the pharaohs that he tells, their myths and especially their death rites. Michele Mally here signs a documentary that reconciles archaeology and religion, science and spirituality, but which has the essential flaw of looking a little too much at its navel. Falling into pathos and excessive formalism, it sometimes takes on the characteristics of an advertising spot for the institution that hosts it. It remains nonetheless a nice object of contemplation, a sort of psychopomp bridge between the past and the present, legitimate in its scientific and historical approach.
Chloe Delos-Eray
MY PERFECT STRANGER ★★☆☆☆
By Johanna Pyykkö
Ebba has a very ordinary existence: she works as a cleaner at the port of Oslo, doesn't really have any friends, and enjoys dreaming of another life. But be careful that the fantasy doesn't turn into an obsession! While her owners entrust her with watching their house while they are away, Ebba invades the home: she sleeps in their bed, uses their car, wears their clothes, and above all, brings an amnesiac man to whom she pretends to be her girlfriend. Then begins a spiral of lies, accentuated by misleading editing and a protagonist with a particularly destabilizing (but refreshing) temperament. However, the unhealthy little game doesn't work: the anxiety-provoking atmosphere established from the first moments of the film quickly falls flat, the tension is fleeting, and no critical eye is ultimately cast on Ebba's actions. Frustrating.
Lucie Chiquer
MONOLITH ★★☆☆☆
By Matt Vesely
The starting point is simple: a character, that of a fallen journalist, and a place, that of her childhood home where she has retreated to work on her investigative podcast. It is at this precise moment that she receives a tip that leads her to examine a mysterious case whose central object is… a brick. At first glance, Monolith sells itself as a closed-door thriller about the increasingly unhealthy fascination with news items. Beware those who fall into the trap. Because as the journalist investigates (Lily Sullivan, mind-blowing), revelations based on conspiracies and family traumas come to shake up the story, which takes an increasingly stimulating turn. The downside is that the director struggles to stop at the right moment and loses the tone of his film along the way. The final product ends up lacking harmony… and answers.
Lucie Chiquer
GONDOLA ★★☆☆☆
From Velt Helmer
Somewhere in the Georgian mountains, a cable car connects a village to the valley. On board the cabins, Iva and Nino, two hostesses responsible for transporting passengers, cross paths from morning to night. Each encounter is a celebration and gives rise to amusing situations… This is what can be said about the screenplay of this modest lesbian romance, which German director Veit Helmer saw fit to stretch out over an hour. With its framed shots and its play on the sets, Gondola multiplies the references to Wes Anderson's cinema to the point of sometimes resembling a pale copy – all the paler because the tones of the film are pastel, far from the saturated colors of the American filmmaker. The result is rather pleasant, especially thanks to the two female characters, for whom we readily take affection. Too bad that the length of the whole thing kills its rhythm, and therefore its charm…
Emma Poesy
Eyou too
Beautiful child, from Jim
Reprises
The fabulous destiny of Amelie Poulain, by Jean-Pierre Jeunet
The Florida project, by Sean Baker
Paddington, by Paul King
Red rock, by Sean Baker
Tangerine, by Sean Baker