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THE EVENT
ALIEN: ROMULUS ★★☆☆☆
By Fele Alvarez
The essentials
Fede Álvarez delivers an artificial best of the best ideas from the Alien franchise.
In the life cycle of a franchise, there always comes a point where you promise the public “the best movie since the first”. Alien: Romulus is one of these, accumulating explicit winks and literal quotes from the first two films of the saga. So much so that one wonders if there is even one original idea left in the holds of this Romulus apart from its exciting initial idea, that of a group of young people working class heroes stuck on a terrible mining planet, dreaming of the sun of elsewhere, looking for their exit ticket on an abandoned space station? Otherwise, for the rest, the entire graphic charter of Alien is there, sometimes magnificent and scrupulously copied. Without this copy, this replicant in short, is not itself a principle of cinema. Where Prometheus And Alien: Covenant was strange replicantsexperimental objects that were both failed and exciting, where Ridley Scott reinvested the Alien franchise, dialoguing with his own mythology, showing the clichés to better strip them down, at the risk of implosion.
Sylvestre Picard
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FIRST LIKED MUCH
JIM'S NOVEL ★★★★☆
By Jean-Marie and Arnaud Larrieu
Karim Leklou is the center of gravity, the axis mundi of this film-novel (adapted from a book by Pierric Bailly) that spans decades, where the characters change for better or for worse, attract and leave each other, constantly invent and reinvent other forms of family. A type of star in itself. Not the all-consuming star who crushes the entire frame, but the one that the film has designated as an anchor point, as a referent, as a physical incarnation as an apprentice photographer thwarted by a stay in prison in the Jura in the 90s, finding himself the father of a child who is not his. Neither a social chronicle nor a thesis film, Jim's Novel is a melodrama (often funny). Or more precisely a kind of new Western: a film betting everything on its hero, who thinks he will find his way in the West, that is to say the world (or in the rocks of the Jura) as long as he keeps his moral rectitude.
Sylvestre Picard
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CITY OF DARKNESS ★★★★☆
From Soi Cheang
Funny fight: that of an 80s fighting film in a dump city. A fighting film that hits hard, Soi Cheang stripping its source material (a very colorful comic strip) of its fluorescent tinsel, and locking its characters in a very “Soi Cheangian” setting that is another character: the “walled city” of Kowloon, an enclave within an enclave, a concrete labyrinth ruled by overpowered fighters driven by tragic impulses. It's the story of a starving illegal immigrant (amazing Raymond Lam), lost in Kowloon, who clashes with heroes named Cyclone (hairdresser and elite fighter), Mr Big (the legendary Sammo Hung himself, tired but very present) or King, amazing big bad guy with a mullet capable of blocking the blades of sabers with his teeth… The purgatory of Limbo has been ordered (and slightly colored), to become much more than the setting of beat them all arcade terminals: a new cinema horizon for Soi Cheang. Fight!
Sylvestre Picard
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THE LEGEND OF THE HERO-HUNTING EAGLE ★★★★☆
By Jeffrey Lau
What is this doing in your summer? A 1993 kung fu comedy with a royal cast (both Tony Leungs, Maggie Cheung, Brigitte Lin, etc.)… First of all, don’t be fooled by the title. In fact, the real legend of the film is its conception: shot following the Ashes of Time because the post-production of Wong Kar-wai's over-the-top martial arts film was taking too long, the producer decided to quickly wrap up this comedy with the same cast, just to be on the safe side, to cover his costs… there's a whole story to write about that, but we can already be satisfied with the film itself: a completely crazy parody of martial arts films, shot in three sets with shiny costumes, which risks looking to the gweilos like a sketch from Les Inconnus shot in Hong Kong. It's still super funny (Tony Leung is great as the big bad guy who gets uglier and uglier) and very entertaining, especially compared to a certain self-proclaimed “crazy” blockbuster that's doing great in theaters these days, follow our gaze. So, if you're still wondering what this is doing in your summer, you'll quickly understand that you've been waiting for this.
Sylvestre Picard
FIRST LIKED
GOLO AND RITCHIE ★★★☆☆
By Ahmed Hamidi and Martin Fougerol
It all started on Snapchat, when Golo was having fun filming his childhood friend Ritchie, who has autism spectrum disorder, in the Grande Borne district of Grigny. A natural, obvious bond that has made them stars of the networks for 3 years. And while the two friends have charmed the web, they are now beginning their conquest of cinema. More than just a story of their story, this documentary (co-directed by Ahmed Hamidi, the co-writer of Large bath) follows Golo and Ritchie as they decide to cross France in tandem. A journey that brings together everything that characterizes their friendship: mutual aid, tolerance, kindness… and humor. Because it is really Ritchie's natural humor that sets the pace for the story, without ever becoming an attraction. Light and lively, this film is above all that of two friends who hope to bring a smile back to those who watch them. Mission accomplished, with a few tears thrown in.
Lucie Chiquer
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FIRST TO AVERAGE LIKED
MELANCHOLY ★★☆☆☆
By Takuya Katô
Its title speaks the truth. From the start of this first feature film, a feeling of powerful melancholy invades you and never lets go, embracing what its heroine goes through when confronted with the sudden loss of her lover in an accident. A woman who, returning to her married life by acting as if this relationship had never existed, will understand that nothing will be the same again if she does not confront the problems she has buried under the carpet. We let ourselves be carried away by this storm under a skull thanks to the filmmaker's decision to maintain a blur in the temporality of what we see, to never present the flashbacks as such. This choice can be disconcerting but gives a vaporous, almost unreal tone to the film before, alas, in its final straight, the story becomes more down to earth and explains in words what we had felt. As if Takuya Katô had not dared to trust what his actors express and the capacity of his spectators to abandon themselves.
Thierry Cheze
And also
Never again- It ends with us, by Justin Baldoni
The Kings of Rally, by Rosa Venekur
Reprises
The Fall of the Roman Empire, by Anthony Mann