Top Gun: Maverick, Future Crimes, Brother and Sister: new in cinemas this week

What to see in theaters.

THE EVENT
TOP GUN: MAVERICK ★★★☆☆

By Joseph Kosinsky

The essential

Thirty-six years later, a sequel in the form of a euphoric merry-go-round. But which also points, by dint of winks to the past, the limits of mythology Top Gun.

Tony Scott, director of the first Top Gun in 1986, summarized: Scenes between characters are just breaks between airplane scenes “. Keeping this idea in mind, we can’t blame too much Top Gun: Maverick to be more comfortable in the air than on dry land. Down, the movie is indeed weighed down by a kind of overplayed, mechanical nostalgia. This excessive reverence for the past, while provoking very little emotion, underlines the narrowness of a universe that is still quite rudimentary. The film, on the other hand, takes off completely when it indulges in the joys of speed, kinetic euphoria, pure sensation. The “military” plot is much better than that of the first film, Tom Cruise and the faithful Christopher McQuarrie (here co-writer) having fun along the way to transform this Top Gun 2 in a kind of Mission: Impossible 6 ½. Arrived in the film as a tired veteran, Tom Cruise emerges regenerated, affirming his nature as a super-VRP of the “cinema experience”. The mythology of Top Gun may be limited, but that of Tom Cruise seems inexhaustible.

Frederic Foubert

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FIRST LOVED

SIBLING ★★★★☆

By Arnaud Desplechin

Desplechin reconnects with the universe of these family chronicles whose heartbreak constitutes the beating heart of so many of his films. In this case, therefore, here, a brother and a sister, moved by a mutual hatred who, after 20 years without seeing each other, will be called upon to meet at the bedside of their parents plunged into a coma after a serious accident. Desplechin reconnects here with the sense of romance that was so lacking in Deception. In Brother and sister, we smile to hide our pain, we are silent because no words can translate the violence of what we feel. And when suddenly, the word takes over like a dormant volcano wakes up, the moment stuns you with brutality. And, to convey all this, Desplechin shows once again that he is one of the most fascinating actors in France. From Melvil Poupaud to Patrick Timsit, look for a false note and you won’t find any in the film families he brings together on screen. As for Marion Cotillard, she delivers one of the most beautiful scores of her career where the power of her explosiveness is permanently contained and is expressed more in bursts of laughter or wildly lost looks than in impetuous explosions. Rediscovering an actress you thought you knew by heart is also the magic of Desplechin.

Thierry Cheze

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FIRST LOVED

THE CRIMES OF THE FUTURE ★★★☆☆

By David Cronenberg

He had announced to stop the cinema, and seemed absent from his last films, but Cronenberg is back. We follow here, in a near future devastated by the climate crisis, the adventures of a couple. Saul Tenser (Viggo Mortensen) is a performer who stages the mutation of his internal organs in avant-garde shows. Caprice (Léa Seydoux) is his accomplice. As their number takes a more sexual turn, an official asks questions, a cop enters the dance and a group of activists seek to take advantage of Saul’s notoriety. The crimes of the future therefore looks like an atlas of the Cronenbergian psyche, tirelessly returning to the body, technology, sex and disease… But it has a more personal dimension than his great 80s and 90s opuses. As if, as he grew older, the filmmaker’s fetishes became strangely more intimate, in a whole loaded with subtle derision. Shore’s music, Stewart’s hallucinated acting, or the sometimes absurd chatter install an amused distance. It is this distance that makes this SF fable strange, playful and hypnotic.

Gael Golhen

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DON JUAN ★★★☆☆

By Serge Bozon

Serge Bozon had never used to talk about love. So for a first, he chose an iconic story, Don Juan, but by capturing it in his unique and offbeat way: by reversing the roles. Bozon’s Don Juan is no longer the man who seduces all women, but a man obsessed with a single woman: the one who abandoned him and whom he now sees in all the others. This bias fortunately goes beyond a scholarly variation on the gender issue, surfing on a post #Metoo wave. Because by making his characters two actors rehearsing Molière’s play, this mise en abyme allows us to talk in depth about the work and commitment of the actors. All to music and songs, a natural extension of the characters’ dialogues, silences and wounds. The result sometimes suffers from a cerebral nature that stifles emotion but can count on its two interpreters to bring flesh and tears to its subject: Tahar Rahim and Virginie Efira. With at their side, a deeply moving Alain Chamfort as the father of a daughter with a disastrous destiny, once seduced by Don Juan. Its elegance and its exquisite awkwardness are not the least of the assets of this Don Juan.

Thierry Cheze

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BIRDS OF AMERICA ★★★☆☆

By Jacques Loeuille

Documentary filmmaker Jacques Lœuille travels up the Mississippi in the footsteps of Jean-Jacques Audubon, a French painter from the early 19th century who traveled through Louisiana to paint the birds of the New Continent. Birds of America is less a portrait of the artist than the evocation, through his works and his journey, of a vanished country: this earthly paradise that was pre-industrial America. Since most of the species of birds that Audubon painted are now extinct, recalling their existence helps to underline the extent to which the initial US ideal, of which the exaltation of nature was an essential part, has been corrupted. Lœuille films the factories, the polluted skies, the destruction of ecosystems, as so many proofs of the failure of this original promise, in a lyrical and political film-essay. A gripping ode to faded American splendour.

Frederic Foubert

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FIRST TO MODERATELY LOVED

MEN ON THE BRINK OF A NERVOUS BREAK ★★☆☆☆

By Audrey Dana

It starts very strongly with an ultra-dynamic montage of men adrift: a lonely metro driver despite himself and who worries about being underground; a pensioner who spends his days on his couch and has stopped washing since his wife’s death; a father who is tired of family life; a homosexual who grew up in a very traditional family and doesn’t dare to come out… with amazing methods. With Men on the verge of a nervous breakdown, Audrey Dana aims to examine the contemporary “male”-being through these fellows from 18 to 70 years old. But after a joyful start, the story becomes too programmatic and the production less inspired. But for all that, it is difficult to completely resist the general good mood released by this feel good moviewhich manages to dose the dramaturgy to avoid caricature.

Francois Leger

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PREMIERE DIDN’T LIKE

IT RUNS IN SAINT-PIERRE ET MIQUELON ★☆☆☆☆

By Christian Monnier

Céline (Céline Mauge) is a renowned but kindly lost actress. She agrees to go and shoot in Saint-Pierre and Miquelon under the direction of the famous director Milan Zodowski (Philippe Rebbot), a follower of cinema truth. For which movie? She knows nothing, or almost. On site, Céline is disillusioned when she discovers that the team is only made up of a sound engineer and a stage manager… A dramatic comedy that is not very solid on its feet, It turns in Saint-Pierre and Miquelon – what a title à la Max Pécas! – spends his time looking for his identity. The film quickly evacuates the trail of the incredible filming to switch to the inner adventure of its heroine: it does not hold water for two seconds, but the story persists, cleverly stifling any roughness that would have made it unique.

Francois Leger

And also

The Shadow of the Fathers by Christine Francois

Covers

The Basilischi of Lina Wertmuller

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