Free guy, Rouge, Passion simple: New in cinema this week

What to see in theaters

THE EVENT

FREE GUY ★★★ ☆☆

By Shawn Levy

The essential

Successful mix of Truman show and Ready player one, an action comedy that plays with geek culture

Guy follows every day, without losing his smile, the same routine to join the bank to settle at the counter where he works. Until the day when he fell in love at first sight. A young woman on whom he falls in the street… Suddenly, he therefore upsets his program without suspecting that his whole world is going to collapse. Guy will indeed discover that he is an artificial intelligence in a video game. A character in the background without flavor or relief. He then decides to change his destiny, break the rules of the game by trying to become a hero in his turn and to live a love story a priori impossible when he understands that the one for whom he has fallen for is only the avatar. of a player, co-creator of the idea of ​​this game before it was stolen by a powerful industrialist

Free Guy succeeds here with the world of video games, Marvel superheroes and Disney, all that the sequel to Space: Jam missed in large widths with that of Looney Tunes and Warner. Take hold of it in a fun, rhythmic and joyful way. Like a perfect mix between Truman show and Ready Player one… And without getting lost in these references since they constitute precisely the backbone of the story especially imagined by Zak Penn, the screenwriter of… Ready player one.

Obviously there are here and there some scriptwriting facilities to still stay in the nails of a blockbuster supposed to bring together the greatest number. But nothing comes to encroach on the adolescent pleasure taken in front of this story which also does not hesitate to fall into a certain cynicism. Seeing a Disney film celebrate the victory of small creators against large groups who devour their creations raw while shamelessly trampling on them, it’s still inflated, right?

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FIRST LOVED

RED ★★★ ☆☆

By Farid Bentoumi

Red, it is the color of blood, of revolt, of violence, it is also that of a gigantic chemical company posed like a battered ship in the middle of a threatened nature and humanity which does not exist. do not embarrass ecological rules. And so the title of the second feature by Farid Bentoumi who finds his actor of Good Luck Algeria, Sami Bouajila, whose incredible talent we never stop rediscovering, who even pays for the luxury of improving with age. Here he camps a father who does not see the turmoil coming down on his own certainties forcing him to react. A union delegate who pleases his management, seeing in him the guarantor of blind dedication on the part of the employees. The arrival of her daughter (Zita Hanrot) as a nurse will shatter the balance of the whole, by revealing the ecological scandal put under wraps. Articulated like a social thriller, Red is based on a detailed story and a subtle staging that never seeks to distort the honesty of intentions. The violence of the world must be recounted at the level of the contorted faces and the bodies which resist.

Thomas Baurez

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SIMPLE PASSION ★★★ ☆☆

By Danielle Arbid

Bringing an interior monologue to the screen in which the author recounts his intimacy is never easy. Danielle Arbid does it with superb in the adaptation of this book where Annie Ernaux described in detail her adulterous passionate relationship with a married Russian diplomat. The author had chosen not to detail the moments of hugs. Arbid recounts the lack that regularly devours this woman by celebrating the overflow and filming the intensity of their sexual relations with two actors (Sergei Polunin and Laetitia Dosch) embodying this ballet of bodies with a naturalness never lacking. This story of voluntary submission to the desires of an elusive man necessarily resonates singularly in the #MeToo era. But above all, she hides the portrait of a woman who, through this troubled relationship, rediscovers herself by bringing out a femininity buried in a bewitching exultation of the body.

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BERLIN ALEXANDERPLATZ ★★★ ☆☆

By Burhan Qurbani

Initially, there is a cult novel by Alfred Döblin written in 1929 and describing in almost 500 pages the journey of a delinquent in the world of the underworld. Piel Jutzi was the first to capture it in 1931 with Sur le pavé de Berlin, but the name of Berlin Alexanderplatz is also and above all linked to its adaptation by Reiner Werner Fassbinder in the form of a 3:30 p.m. television series in 1980. Forty-one years later, Burhan Qurbani (revealed in 2011 by Shahada) is working on it in turn and seizes the story by shifting the plot to our days and making his hero a refugee from Guinea-Bissau. , Francis, arrived illegally in the German capital where he will quickly realize that earning a living honestly is impossible. Berlin Alexanderplatz is therefore the chronicle – cut into ten chapters – of an announced tragedy or how the underworld will suck Francis through his toxic relationship of friendship with a drug dealer and leave him no chance to escape even when the light seems to appear at the end of the tunnel. There is something dizzying about tackling such an imposing work. Qurbani fully plays this monumental side, by orchestrating 3 hours of an overflowing and divisive orgy of sounds and colors. This show of force may indeed seem unbearable but it also ends up – much more extreme, like Barry Jenkins’ Moonlight – by bewitching. By giving relief to this pamphlet against racism which assumes its non-modesty. As if to make the viewer feel the suffocation experienced by his hero.

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WHAT’S LEFT ★★★ ☆☆

By Anne Zohra Berrached

The poster for the new Anne Zohra Berrached (Two mothers) do not lie. If a couple appears there, the woman’s face occupies almost all the space with, on the right, cut and blurred, that of her husband. Because it is indeed through the gaze of Aslid, a young girl of Turkish origin that we will follow the jagged story and rich in tragic surprises of her relationship with Saeed, a Lebanese Arab immigrant who came to Germany to escape the war, met by chance at a fun fair. The film therefore opens like the romantic chronicle of love at first sight, where we certainly feel that the cultural and religious differences between their families cause conflicts (Aslid hides his relationship from his mother, they get married in secret … ) but without guessing the place they will end up occupying. And our surprise will be that of his heroine when, overnight, the one who told her his dream of becoming a pilot disappears without explanation. From then on, reappearances and then long disappearances will follow one another. Obviously, she will seek to flee this toxic relationship and what she perceives as radicalization. But nothing will. The strength of love that she feels in spite of everything turns out, against her will, indestructible. And this until a conclusion which we leave you surprised. Remarkably embodied by Canan Kir and admirably scripted, this reflection on radicalization goes off the beaten track by this constant bias to bring it to life through the prism of blinding amorous passion. And proves to be panting without forcing the line or the rhythm until its last shot.

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FIRST A MEDIUM LIKED

HOT WIND ★★ ☆☆☆

By Daniel Nolasco

Develop on the screen a cinematographic language nourished by the codes of gay culture without fear of being very explicit to tell the story of an employee of the human resources department of a mining company whose desire – often satisfied – for some of his colleagues will turn into obsessive impulses that are inevitably devastating. The gesture of the Brazilian Daniel Nolasco is obviously neither trivial, nor free in the Brazil of Bolsonaro not enough gay friendly. Visually, the result is therefore striking and intriguing but unfortunately far too superior and therefore somewhat disconnected from the conduct of a plot that draws the line to arrive at 1:50. Suddenly, the scenes flirting with pornography sometimes seem artificial, as if to wake up the sleeping spectator. Either exactly the opposite of the desired goal.

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ESCAPE GAME 2: THE WORLD IS A TRAP ★★ ☆☆☆

By Adam Robitel

In 2019, Adam Robitel had successfully surfed (more than $ 150 million in worldwide revenue) on the fashion of escape games with a film built on a principle of a deadly game à la Saw whose characters die one after the other, for lack of having found a solution in time to the puzzles proposed. This sequel was therefore inevitable with an unchanged principle – six competitors, of whom we will quickly understand that they have already played this type of game and were not reunited by chance – and a race against death which will shell its victims . The result is undeniably effective and has less the merit of never succumbing to the easy trap of the gore overbidding that has just imposed on us recently. Spiral, Saw’s exhausting reboot attempt. But for the rest, the story does not really take any risk, remains in the nails of the genre as for fear of damaging the franchise, until its hyper-boat conclusion which leaves little doubt about a future third episode.

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FIRST DIDN’T LIKE

SENTIMENTAL ★ ☆☆☆☆

By Cesc Gay

5 years ago, the Catalan Cesc Gay signed with Truman a story of heartbreaking friendship against a background of death that lurked for one of the two protagonists played by Ricardo Darin and Javier CTomara. With a scenario strong enough to make you forget the lack of style and depth of the realization. Everything that Sentimental cruelly brought to light. The story of a couple in crisis, Julio and Ana, whose decision of the latter to invite their neighbors to dinner above whom he cannot stand, will add fuel to the fire. Sentimental is adapted from a play and the least we can say is that it hits the screen. But the flatness of the image only accompanies that of a story that ventures into the field of marital relations and sexuality with situations and dialogues that dream of being stinging and revealing themselves to be a confusing agreement where good morals will be saved! At first, however, we cling to the deliciously misanthropic and bad-tempered aspect of Julio camped by the always impeccable Javier Cámara. But he himself will not resist the wise and clean side of the whole. Too programmatic, too fictitious, too scholarly, everything here looks like (very boring) filmed theater.

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And also

What is this grandpa ?! by Gabriel Julien- Laferrière

Paw patrol the movie- Paw Patrol by Car Brunker

Pil by Julien Fournet

Repeats

Orfeu Negro by Marcel Camus

Property by Penny Allen

Live ! by Zhang Yimou

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