Largo Winch: The Price of Money, We Are Zombies, Maxxxine: New Releases at the Cinema This Week

What to see in theaters

THE EVENT
LARGO WINCH: THE PRICE OF SILVER ★★★☆☆

By Olivier Masset- Depasse

The essential

Ten years after his last helicopter ride, Tomer Sisley is back in Largo Winch gear. Has the world changed? That's good for him too

At a time when everyone hates billionaires, there is something surprising about relaunching the Largo Winch saga. Starting to follow the adventures of the golden backpacker again, when some now prefer to see the heads of the bosses on pikes, is audacious. But this third Largo adventure has had the intelligence to take into account the changes in society. The hero is no longer an indolent and hotheaded super-rich person. He is a father, constantly sent back to his faults and incapacities by his son. A boss who quickly loses control of his company. A boomer who wants to leave a somewhat clean mark. The plot will not revolutionize action cinema, but this new Largo Winch seduced by well-orchestrated action scenes and the treatment of its worn-out and disconnected character who, in ten years, has managed to gain muscle but also a little depth.

Pierre Lunn

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FIRST LIKED MUCH

WE ARE ZOMBIES ★★★★☆

From RKSS

What if zombies weren't violent and didn't pose a threat? While a virus has transformed part of the population into “non-living” wandering aimlessly, three corpse traffickers, confronted by a malicious secret organization, seek to take advantage of the situation with clumsiness. As well interpreted as written, this film confirms the talent of the RKSS collective (Wake Up). Between enjoyable gore scenes, a pronounced taste for retro aesthetics and an irony that does not fall into satire, RKSS assumes a tone of independent zombie film never serious but never ridiculous. And signs a fresh and terribly effective popcorn horror comedy.

Bastien Assie

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FIRST LIKED

MAXXXINE ★★★☆☆

From Ti West

In two years, Ti West will have built an astonishing trilogy and, above all, created a fabulous cinema heroine, Maxine Minx – greatly helped in this enterprise by an unbridled actress, Mia Goth, true co-author of the saga. After X And Pearl, MaXXXine was conceived as the climax of this cinephile stroll through different ages of America and American cinema. It is 1985 in Hollywood, serial killer Richard Ramirez is terrorizing California and Maxine is preparing to leave the world of porn to begin a career as a “traditional” actress, in a B-movie horror with arty ambitions before her past catches up with her. West here skillfully mixes the true and the false, the atmosphere of an era as much as the way it has crystallized in films and the media. Quotes abound and we will recognize, in bulk, traces of Body Double, Chinatown, Rosemary's Baby…A film of pure pleasure, outrageous and delicate at the same time, where West flirts with fetishes and myths like playing with fire.

Frederic Foubert

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LIKE FIRE ★★★☆☆

By Philippe Lesage

Philippe Lesage here takes the plot of a trip between friends to the countryside that degenerates head on, delivering a long film that impresses as much by its length (2h40) as by its way of mixing genres and coloring this social drama with a touch of cinema of anguish and adventure. Telling the story of a director who invites an old friend who is a screenwriter to his lakeside chalet, Like fire thus shows how behind the false cordiality an infinite number of reproaches will burst forth between two former friends whose vision of the world has begun to diverge. Punctuated by sequences of meals full of tension, the story describes in parallel the blossoming of desire among adolescents whose vitality is opposed to the deadly aspect of disputes between adults. And while this portrait of the disillusionment of a generation in their fifties could seem cynical, it turns out to be crossed by an almost mystical breath.

Damien Leblanc

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FIRST TO MEDIUM LIKED

FUL RIVER RED ★★☆☆☆

By Zhang Yimou

In the 90s (Wives and concubines, Live ! …), until the beginning of the new millennium (Hero, The Secret of the Flying Daggers…), Zhang Yimou's ample and polished cinema made him one of the jewels of the Chinese industry, a sort of luxury showcase for a conquered international audience. If the person concerned has never stopped working, the impact of his big productions is now mainly limited to the domestic market (he has even been accused of having become an official artist of the regime). The appearance in the middle of our sporting summer of this Full Red River is therefore rather unexpected. Through this closed-door (quasi) open-air setting, we follow court intrigues in the imposing enclosure of an imperial palace. The action takes place in the 12th century and sees the representatives of two dynasties clash. The idea here is to let yourself be carried away – and get lost – by the incessant comings and goings of characters whose hidden secrets we end up no longer really knowing. Yimou's staging has not changed. Inspired, it coats this often funny fresco with a silky varnish bordering on the fantastic.

Thomas Baurez

GARFIELD – HERO IN SPITE OF HIMSELF ★★☆☆☆

By Mark Dindal

Created in 1978 by comic book author Jim Davis, Garfield, the laziest and greediest cat in the universe, has since been the hero of 76 albums (the latest Ras le bol! was released in October 2023) and saw his very first adaptation on the big screen by Peter Hewitt exactly 20 years ago. This one, written by Mark Dindal, is already the fifth, and Garfield sees his biological father resurface after years of absence, asking for his help to rob a dairy and repay a debt. And the character unfortunately remains faithful to his previous adventures. Forgotten the deliciously savage feline of comic strips, Garfield lost his claws by becoming a movie hero, in films designed as family shows where nothing should stick out. However, we feel here, during truly enjoyable moments, a desire for emancipation by leaning towards a more cartoonish style, but the animation is flat and this obsession with smoothing over the issues of the quest for origins or the difficulty of finding one's place in the world makes this mission impossible.

Thierry Cheze

FIRST DON'T LIKE

HIGHWAY 65 ★☆☆☆☆

By Maya Dreifuss

Under a scorching sun, Daphna, a young cop recently transferred from Tel Aviv to the Israeli pampas, travels across an isolated plain. That's where the cell phone of a former beauty queen who vanished was found. But no one seems to care. Under the camera of Maya Dreyfuss, this strange disappearance quickly becomes the pretext for an inventory of the condition of women in Israel (not great, as you might expect). Unfortunately, the filmmaker gets bogged down in the sluggish relationships of a strange family and her film ends up resembling an anemic episode of a TV detective drama, progressing through laborious discoveries and revelations. Then there remains the presence and intensity of Tali Shannon, the main actress with the pouty pout and glasses that eat up her face. It's not bad, but not enough to want to take this Highway 65.

Pierre Lunn

Reprise

Untouchables, by Eric Toledano and Olivier Nakache