Morbius, Freaks out, En corps: New in cinema this week

What to see in theaters


By Daniel Espinosa

The essential

Marvel’s “vampire”, played by Jared Leto, lacks teeth. Morbius turns out to be much less entertaining than Venom

Third film in ‘Sony’s Spider-Man Universe’ and Marvel’s first adaptation of the character, 24 years after his cut cameo in BladeMorbius aroused on paper our curiosity at the idea of ​​seeing Jared Leto return in a comic book movie – after the painful memory of his passage as Joker butchered during the editing in the Suicide Squad by David Ayer – and to find him headlining a big-budget film for the first time

For this lover of colorful compositions, there was potential with this character of a scientist who turns into a vampire while trying to cure himself of a rare disease using bat blood. But, surprise, the 50-year-old actor (who is 15 years younger) is surprisingly – and probably even a little too – sober in the skin of Morbius. In any case, not enough to wake up a film written and edited with so little care that one constantly wonders about the logic of events and the sequence of scenes that make it up.

Sorely lacking in originality, including in its special effects, Morbius suffers from the same ailments as his big brother Venom. Namely those of a super-villain who is made up as an anti-hero, by roughly pressing his duality and his absence of responsibility, while dressing him up as a caricatural antagonist to show that he is not so bad after all. Except that Venom made at least the effort to entertain us by daring to be ridiculous, where Morbius looks desperately serious and painful.

Edward Orozco

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By Gabriele Mainetti

Freaks Out immediately installs us in the middle of a track with vintage stars. We meet a friendly Mr. Loyal with a salt and pepper beard, an albino who knows how to talk to insects, a colossus entirely covered with hair, a dwarf who loves everything that happens and a young girl who lights light bulbs by placing them delicately between his lips. The ballet lasts like that for about ten minutes. A piece of bravery that announces that Freaks Out will be both a total spectacle, a strip film, and, when the German machine guns land, a staggering point of collusion between phantasmagoria and history – the one that Tarantino aimed for his Basterds. Freaks Out is part of this vein of cinema where it is above all a question of pleasure, surprises, comic strip vignettes and massacred Nazis. The taste for quotation is compulsive, with a title that places the film under the high patronage of Tod Browning, before organizing the meeting between the X-Men, the Pinocchio by Comencini and The Raiders of the Lost Ark.

But it’s the team spirit that is the film’s superpower. The spectacle is only worth it because there are several of them, and dazzles only because they intertwine. The great sleight of hand performed by Gabriele Mainetti (We call him Jeeg Robot), is that his choral narrative has nothing very democratic about it and that the equality of speaking time is completely trampled on there. The three boys form a somewhat indivisible whole. But because her superpower deprives her of all physical contact and therefore translates a deeply solitary relationship with the world, young Matilde, the only girl and only “standard” physique in the gang, quickly stands out. She will be both the film’s emotional anchor and its most breath-taking revelation (Aurora Giovinazzo, scratched timbre, large manga eyes). And throughout it, we keep wondering by what alignment of planets a 45-year-old Italian director could have given birth to such a show, resuscitating an idea of ​​​​cinema that Europeans no longer know how to make and that Hollywood no longer wants to imagine.

Romain Thoral

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ICARUS ★★★★☆

By Carlo Vogele

With Icarus, Carlo Vogele signs a mythological and luminous animated film in ancient Crete. And in this barely revisionist version of the legend of Theseus (there is an arrogant asshole and Ariadne, a slightly manipulative princess), seen from the point of view of the son of Daedalus, we read the reflections of the labyrinthine and twilight visions of Fumito Ueda (Shadow of the Colossus,). Moved to Pixar, where he worked on Toy Story 3 Where Rebel, the director seems here to have wanted to play absolutely against the reassuring caution and the demonstrations of force of a family production of a big studio. Whispered mythological epic, carried by a real sense of tragedy and cinema (baroque music in counterpoint, animation pushed to its limits, etc.), Icarus is not very far from faultless.

Sylvester Picard


IN BODY ★★★☆☆

By Cedric Klapisch

Cédric Klapisch has always loved dance, or almost. And this passion which had already been expressed through various documentaries and recordings passes here for the first time through the prism of fiction. The story here is deliberately held in one sentence: after a serious injury, a 26-year-old classical dancer tries to repair herself when she is told her career is over. In body there is nothing suspenseful about his ability to practice his art again or not. What interests Klapisch is the process of reconstruction, the bridges between two worlds – contemporary and modern dance – which so many swear are irreconcilable. His knowing eye and the camera on the lookout for Alexis Kavyrchine (Goodbye idiots) give birth to an enveloping work but never cutesy and subtly sprinkled with moments of comedy as Klapisch knows so well how to trick them. But this building would collapse like a house of cards without the luminous performance in the central role of Marion Barbeau, a star dancer who is making her acting debut. A master stroke.

Thierry Cheze

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By Yukiko Sodé

The presence of female directors in the history – past and present – of Japanese cinema is almost nil. We recently discovered, flabbergasted, the brief but isolated work of Kinuyo Tanaka (six marvels produced between 1953 and 1962). Closer to us, the name Naomi Kawase is, we guess, a tree that does not hide much. The arrival of Yukiko Sode, 39, with this magnificent Aristocrats (of which it is already the third feature film) is an event in itself. The film, adapted from a novel by Mariko Yamauchi, precisely examines the place of women in today’s Japanese society, prisoners according to their social class of a determined pattern of life. With a sweetness and a crazy grace, Sode brings together characters in a Tokyo compartmentalized from the inside where everyone is looking for their place and above all a shoulder to face a reality devoid of perspectives. Wonderful.

Thomas Bauras



Can we be more anchored in the news? The new begins shortly before the first round of the presidential election. The President (Léa Drucker, remarkable) – who has chosen not to stand again – learns from her Secretary General (Denis Podalydès, dazzling) that between the two rounds a scandal launched by a Russian news site will splash her successor designated and propel to the Elysée the candidate of the extreme right. yesterday’s world recounts the three days that can change the situation with the central question of how far to go illegally to thwart this external interference. Here the discreet staging gives rise to a suffocating camera where each face-to-face between these protagonists is a delight of a game and a game of chess in which no one knows who will emerge victorious and what everyone has in mind. This tense and melancholic thriller which assumes its classicism holds in suspense until its last shot.

Thierry Cheze

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By Jean-Gabriel Périot

The beautiful parentheses in the title say a lot about the company. Or a fragmented adaptation of the text of Didier Eribon published in 2009 where the author took advantage of a return to the sources to retrace the course of his family which merged with that of the working world. If the intimate part of the text has disappeared, Jean-Gabriel Périot (A German youth) focusing on the sociological and political part of the story, the dazzling thought is intact. The words said with accuracy by Adèle Haenel accompany heterogeneous archive images (news images, film extracts…). The grace of the editing is overwhelming. The story of a working class gradually perverted in its foundations takes on the hair of the beast with the current battles of the Yellow Vests which create chaos within the film itself. Proof that this “return” is a formidable living material.

Thomas Bauras


By Claudine Bories and Patrice Chagnard

After dealing with the right of asylum (Newcomers), employment (The game’s rules) and the crisis of democracy (We the people), the duo Bories-Chagnard paints the portrait of a cow – star whom they had while “cowsitting” one summer – queen of the mountain pastures and pampered by her owners, as her time of decline looms. There is a western in the way of staring her when she is about to bow out. But behind this never cutesy declaration of love for this animal that fascinates those who approach it, this documentary raises a central question: what does animal exploitation by man reveal when such a bond is woven? Does the inhumanity denounced by some metamorphose into the greatest of humanities? And how to go to the end of his love when Vedette passes from life to death: by giving it to others to consume or by eating it yourself? Fascinating and moving from start to finish.

Thierry Cheze

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AZURO ★★☆☆☆

By Matthieu Roze

We must forget the text of Marguerite Duras – The Little Horses of Tarquina – whose scenario is inspired by and let yourself be won over by the apparent torpor that wins over the minds of this Azure. This first feature film by actor Matthieu Rozé sees couples of vacationers prisoners more or less willingly in a small creek. In this, we would lean more on the side of the recent Old by M Night Shyamalan. Here the fantastic does not hold so much on an abnormal acceleration of time as on the wear it produces. At the center of the possible debates, there is Sara (Valérie Donzelli very solar) who sees in “The man” (Nuno Lopes) a new possible horizon. Rozé films these comings and goings of bodies and minds with sensuality, but struggles over time to show the darkness and ambiguity that this merry-go-round carries with him.

Thomas Bauras


CYRANO ★☆☆☆☆

By Joe Wright

This Cyrano-ci is an adaptation of Erika Schmidt’s musical, in which Cyrano de Bergerac does not suffer from the gaze of others because of his unsightly nose, but because of his small size. Peter Dinklage takes over the role he already held on stage, and interprets it with a kind of suave confidence à la Brad Pitt – good idea, which compensates for the fact that he sings in a rather banal way. Behind the camera, Joe Wright deploys this taste for ostentatious and swirling baroque which already animated his Anna Karenina, but fails to find the right balance between his desires for feverish romanticism, impulsive historical fantasy and pop, postmodern opera. The fault, in large part, to rather weak songs. All it takes is a superb pop song in the climax, “Wherever I Fall”, so that the film finally takes off… But too late.

Cedric Page

And also

The Great Movement by Kiro Russo

Snow, by Cyril Barbançon and Jacqueline Farmer

What am I allowed to hope for? by Vincent Gaullier and Raphael Girardot

Sonic 2- The Movie, by Jeff Fowler

Around a world, by Damien Faure

Touroulis- Journey between the Larzac and the Causse comtal, by Denis Poracchia


¡Ay, carmela!, by Carlos Saura

Two pennies of hope, by Renato Castellani

The great silence, by Sergio Corbucci

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