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THE EVENT
SONIC 3: THE MOVIE ★★★☆☆
By Jeff Fowler
The essentials
The third Sonic gives Jim Carrey his best (double) role since Crazy for Irene.
Sonic 3yay? But yes. The proof is two good ideas. The first is to relegate Sonic to the background. The unbearable digital imp endowed with an irritating first-degree humor only serves to be a simple loss leader in this plot involving Shadow, an evil double of Sonic kept frozen for fifty years and who is obviously going to escape to sow chaos in a kids-friendly replay ofAkira. The second good idea is to have given the lion's share to Jim Carrey, in a double role: that of Professor Robotnik and his own grandfather. Carrey facing himself, the only one who can match him one would say, making Sonic 3 the heir of Crazy for Irene And The Disastrous Adventures of the Baudelaire Orphans. All in a mutant Austin Powers atmosphere – we also think very hard ahead Sonic 3 how Mike Myers cloned himself throughout the trilogy – even at the Crazy family.
Sylvestre Picard
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PREMIERE LIKED A LOT
MY INSEPARABLE ★★★★☆
By Anne-Sophie Bailly
Mona lives alone with Joël, her intellectually delayed thirty-year-old son, for whom she has put her personal life on hold. But now Joël has fallen in love with Océane, who is also disabled. A hidden but very real passion since Océane becomes pregnant, with all the upheavals that this implies in their lives and those of their loved ones. On this starting point, Anne Sophie Bailly defies expectations and offers a story where the presence of disabled characters does not imply making a film about disability. What is told here is the story of a double narrative of emancipation. That of a son who has always been a babysitter and ready to become a father against all odds. And that, basically much more difficult for her to live with, of a mother, worried about her son's capacity to take responsibility but even more frightened by the leap into the void that this situation represents for her, while a man came into her life. The resulting sobriety prevents any pathos while boosting its emotional power. A great first film where Laure Calamy impresses once again opposite the no less astonishing Charles Peccia-Galletto, nominated for the César for Revelation.
Thierry Cheze
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MY SUNSHINE ★★★★☆
By Hiroshi Okuyama
Early filmmaker noted in 2019 with his first feature film JesusHiroshi Okuyama, at the age of 28, succeeds in a second, even more accomplished film that transforms his childhood memories into a vibrant snowy melodrama. Located on the Japanese island of Hokkaidō, My Sunshine follows a young boy who abandons ice hockey and becomes passionate about figure skating after being amazed by the movements of a young skater. A dedicated coach then chooses to train the two children together despite gender prejudices, a way for this tender winter tale to avoid the clichés of sports stories based on physical suffering. On the contrary, everything here is based on the quest for harmony, the three characters braving their shyness in the midst of a cottony light. Okuyama, who also does the photography and editing, superbly captures the fleetingness of a parenthesis from which everyone will emerge transformed.
Damien Leblanc
FIRST TO LIKE
PRETTY PRETTY ★★★☆☆
Diastema
Imagined by lovers of the genre for lovers of the genre (Alex Beaupain as co-writer and creator of the songs…), Pretty Pretty is a musical comedy that 1000% embraces its kitsch, a love letter to a whole section of 70s cinema in which its plot takes place: love at first sight between a broke writer and a rising cinema star, whom the The vagaries of life will take great pleasure in keeping them away before these same games of chance and coincidences end up turning in their favor. Careful artistic direction, songs that instantly get into your head, Pretty pretty seduced by its ability to move from laughter to tears, from burlesque to the pain inherent in thwarted loves and its cast (William Lebghil, Laura Felpin, Vincent Dedienne, José Garcia…) whose joy in lending themselves to this exercise in style is bursting at the seams. 'screen. And in the middle of this aeropage, there is Clara Luciani who is making her debut as an actress in her own image, neither demonstrative nor flashy. Just as a matter of course. And the promise of a bright future.
Thierry Cheze
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PLANET B ★★★☆☆
By Aude Léa Rapin
One night in 2039, in Grenoble, after a tough encounter with the police, Julia (Adèle Exarchopolous, perfect) disappears with her fellow activists before waking up in a mysterious place and quickly understands that the reality in which she comes to open her eyes is virtual, of which she will remain prisoner, unless she denounces her accomplices. At the same time, Nour (Souheila Yacoub, with a crazy presence), a migrant under threat of expulsion gets her hands on new army technology which will link her destiny to that of Julia and her attempts to escape. of this Planet B of which she is a prisoner. Aude-Léa Rapin, nourished by SF literature, anticipation cinema and video games, offers here a singular – and very dark – vision of the world. Prison abuses, inhumane treatment of immigrants, police violence, fear of global warming… We could fear an overdose, but the director always manages to keep the thread of her story. Drawing inspiration from recycled decorations Son of man by Cuaron, from the light of the Safdie brothers and with Bonello in charge of the disturbing soundtrack, the director, like them, signs modern films, anchored in their time.
Elodie Bardinet
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THE DELUGE ★★★☆☆
By Gianluca Jodice
The Flood will not be unanimous in France. And not just because – crime of lèse majesté? – an Italian seizes an important part of our History, the captivity of Louis XVI before he was taken to the scaffold. The reason lies rather in the audacious artistic gesture, therefore specific to sneers, deployed by Gianluca Judice, not co-produced by Sorrentino for nothing! In this purgatory space between the paradise of Versailles and the hell of Place de la Révolution, Judice pushes the theatricality to the limit to capture the naked truth of feelings. Like his Louis XVI (quite crazy performance by Guillaume Canet, under his make-up though not the happiest) who we see gradually stripped of the trappings of power to allow his look of an outdated grown-up child and his good nature which contrasts with the approaching death. Ridiculousness often rears its head. But Judice's belief in what he's doing keeps her from succumbing to it.
Thierry Cheze
ERNEST COLE, PHOTOGRAPHER ★★★☆☆
By Raoul Peck
By retracing the life and work of Ernest Cole, the South African photographer who exposed the atrocities of apartheid to the world with his shocking book House of Bondage published in 1967, Raoul Peck (César for best documentary in 2018 with I Am Not Your Negro) dissects the history of racism and Western cowardice but is also interested in how a talented artist like Cole ended his life in poverty and oblivion before dying tragically in New York in 1990. To give substance At the thought of the photographer, Peck created a voice-over based on real writings by Cole and himself lends his voice to this exiled and rebellious hero in the French version. This clever process reinforces the power of this committed documentary which also doubles as a surprising thriller explaining how 60,000 negatives and photos of Cole were suddenly discovered in 2017 in the safe of a Swedish bank…
Damien Leblanc
DOMAS, THE DREAMER ★★★☆☆
By Arunas Zebriunas
Disappeared in 2013, the Lithuanian Arūnas Žebriūn devoted a large part of his work to childhood with the banner Beauty that ED Distribution had already had the rich idea of releasing in France in 2018. Rebelote therefore with this new release, filmed in 1973. We follow the adventures of a little boy seeking to find in his dreams the general who appeared to him during one of them, helped by his comrades who do everything to ensure that he falls asleep as often as possible. It's impossible not to succumb to the crazy charm of this film which combines playfulness and dreaminess, particularly in the daydream scenes bordered by a singular red born from a special film used for the occasion. A beautiful film for children where we can also read an implicit criticism of the vanity of those in authority. A way of evoking, while escaping censorship, the overwhelming power of the Kremlin over Lithuania, which was then one of its Republics.
Thomas Baura
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FIRST TO MODERATELY LIKED
NOSFERATU ★★☆☆☆
By Robert Eggers
After The Northman, Nosferatu allows us to see a little better in the cinematic vision of Robert Eggers – the summit of which remains for the moment The Lighthousea radioactive piece emerging from the depths emitting contagious visions beyond its manic cinephile framework. This is precisely what interests Eggers here: to make Nosferatu the vampire a black monolith, an obsessive, magnetic figure who attracts and repels. The ambition is enormous, the appetite ogreesque: it is about making a devastating horror film, directly inspired by Nosferatu from Murnau. And so: like The Northman was closer to Conan the Destroyer than Andrei Rublevit is in the order of Eggers' cinematic vision that his remake of Nosferatudespite and because of all the seriousness displayed, is closer to Dracula, dead and happy to be than Murnau or Herzog. Except that Eggers, too caught up in the sculpture of his monolith, does not realize that he is also in a diversion.
Sylvestre Picard
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FIRST DID NOT LIKE
MOTEL DESTINO ★☆☆☆☆
By Karim Aïnouz
The action takes place in a motel in the Nordeste, a sort of filthy Ibis. A young runaway will find refuge there, attracting sympathy and then soon the wrath of the boss and the favors of the boss. We enter this “neon Noir” with desire. There is the humidity of the setting, these oily bodies ready to exult and a staging excited by all the surrounding interloper vibrations. The more or less love triangle that will gradually form has a lot going for it: the fragile, muscular young thug, the dilapidated old handsome man and a rather wild woman who is not afraid of anything. Problem, the Brazilian Karim Aïnouz (The Queen's Game) doesn't really know what to do with these beautiful people. If this Motel Destino places his story in a caliente neo-noir atmosphere such as Hollywood knew how to reward us in the 80's and 90's, everything smacks of gleaming aestheticism bordering on advertising. The criminal background is not treated enough to instill any external tension and the characters remain too much like puppets to raise the fever.
Thomas Baura
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And also
Banzo, by Margarida Cordoso
Gifts, by Raphaële Moussafir and Christophe Offenstein
The Recovery
The Last of the Mohicans, by Michael Mann