Saturday 19 June 2010

Reportage:

Indigènes: Review


What's it all about?:


The Good:

The Bad:

The Downright Ugly:

Final Verdict:

Release Date
: 2006
Directed By: Rachid Bouchareb
Starring:Jamel Debbouze, Samy Naceri, Roschdy Zem, Sami Bouajila, Bernard Blancan
Country of Origin: France, Morocco, Belgium, Algeria

Jesus de Montréal: Review / Une Critique


What's it all about? / De quoi s'agit-il?:


The Good / Le Bon:

The Bad / La Brute:

The Downright Ugly / Le Franchement Laid:

Final Verdict / Le Verdict Final:

Release Date / Date de sortie
cinéma:
Directed By / Réalisé par:
Starring / Avec:

Country of Origin / Pays d'origine:
Canada

Ma vie en rose: Review


What's it all about?:

The Good:

The Bad:

The Downright Ugly:

Date of Release:
Directed By:
Starring:
Country of Origin: Belgium

Les Beaux Gosses: Une Critique

De quoi s'agit-il?:

Le Bon:

La Brute:

Le Franchement Laid:

Le Verdict Final:

Date de sortie cinéma : 2009
Réalisé par: Riad Sattouf
Avec: Vincent Lacoste, Anthony Sonigo,
Pays d'origine:
France

La Job et Le Bureau: Feature


Firstly, I should explain that both La Job and Le Bureau are French language versions of popular BBC comedy show The Office (the BBC's most successful export ever), from Canada (Montreal) and France respectively.
This feature has one objective: to recommend them.

La Job

As far as I know, this is the funniest thing to have ever come out of Canada,it's the third foreign language adaptation of The Office, and quite probably the greatest.
Filmed as a documentary like The Office, La Job incorporates twelve episodes (although for some reason that I can't figure out, only two are widely available). Like Le Bureau, its French counterpart, the scripts have been adapted from the British scripts, with names and cultural references changed appropriately, rather than creating news ones à la the American Office.
Wernham & Hogg becomes Les Papier Jennings, and regional manager David Brent becomes David Gervais (the surname being a little homage to Ricky Gervais and his French-Canadian roots).
David Gervais is truly cringe-worthy, in a similar vein to the English version he fails to grasp the notion of political correctness, and often makes a fool out of himself in front of his employees and succeds in making viewing the programme an uncomfortable experience. I don't know if it's due to his constant and often incorrect anglicisms, or his look, or general aura (in comparison to David Brent he seems to have a far needier personality) but Antoine Vézina (a performer of the reputed Ligue nationale d'improvisation (LNI), a Quebec-born concept of improvisational theatre and international improv team competitions) nails his role and provides laughs galore, the two episodes are worth watching just to see him. And you can see him in action here, and judge for yourselves.
Le Bureau

This French remake of The Office was commissioned after a dubbed version of the English series didn't do as well as expected in France.
While remaingin pretty true to the majority of scenes in the original, Le Bureau has some noticeable French quirks. Smelly cheese replaces jelly, the cleaning lady comes from West Africa, and a Parisian banlieue replaces Slough, but like La Job the series' main comic delight is the David Brent character, Gilles Triquet. Who is played by the ever-watchable François Berléand (hailed by Le Figaro as a tour de force), and similarly to David Gervais conveys his awkward humour by inapposite anglicisms "zat's life" and casual political in-correctness. This "boss trop cool" is an older mutation of David Brent complete with novelty purple facial hair (a minute vertical strip from this mouth to his chin). Desperate to appear younger than his years, Gilles speaks in verlan, goes out to hip Parisian bars and attempts English slang e.g. "okey-dokey". The French press embraced Gilles Triquet as the embodiment of a stereotypical 'beauf', and decided that Le Bureau's portrayal of a man going through a midlife crisis, the depiction of the monotony of life in the Parisian suburbs and the preoccupation of workplace rights (a subject dear to most French hearts) was the perfect combination for laughs.

"Without doubt the funniest series of the year,"
Le Journal du Dimanche

"dark and hilarious"
Le Figaro

Capitaine Conan: Review

What's it all about?

This film, based on the 1934 Prix Goncourt winning novel of the same name focuses on a group of French soldiers mobilized yet not allowed to fight (roving Bolsheviks) in Bucharest just after the armistice of the First World War.
The first half of the film, devoted to the war vividly conveys what a brutal business it is, and what kind of man it takes to fight it successfully.
Capitaine Conan, one of these men, unsuited to peacetime, is finding it hard to control his soldiers, especially after years of fighting they, hardened and ruthless must now not react to the attacks they are subjected to. Bored of guard duty and drills, it's not long before these pent up soldiers resort to committing a series of petty (and several serious) infractions.
The French military begins to conduct courts-martial of some of its bravest soldiers for these most petty crimes. One of the few officers Conan actually respects, Lt. Norbert (Samuel Le Bihan), has been assigned to the tribunal to defend the accused soldiers. Their friendship becomes severely strained when two of Conan's men rob a nightclub, leaving two women dead.
A war-film yes, but the main subject of this film is what happens to the warriors when there is no war.

The Good:


Superbly acted by a cast of relative unknowns, the film is also beautifully shot by cinematographer Alain Choquart, who blends oustanding landscape photography with some breathless handheld camera-work that fill Tavernier's battle scenes with a grueling immediacy.

The Bad:

A slow start, and a confusing scenario if you're not aware of the historical and military implications of the end of First World War.

The Downright Ugly:

Nothing to report.

Final Verdict:

As a period piece of exacting and precise detail and as a triumph of assured filmmaking in every aspect, "Capitaine Conan" is a challenging and enriching experience.

Click here to see the trailer!
  • Release Date: 1997
  • Directed By: Bertrand Tavernier
  • Starring: Phillippe Torreton, Samuel Le Bihan, François Berléand
  • Country of Origin: France

Welcome: Une Critique


De quoi s'agit-il?:

Ce film raconte l'histoire de Simon Calmat (Vincent Lindon), un entraîneur de natation français qui divorce sa femme Marion (Audrey Dana). Simon essaye d'aider Bilal Kayani (Firat Ayverdi) un immigrant clandestin qui rêve de traverser la Manche à la nage de Calais à Angleterre. Pour qu'il puisse être réuni avec sa copine Mina (Derya Ayverdi). Pendant ce temps, le père de Mina vivement oppose les projets de Bilal parce qu'il veut que sa fille s'épouse son cousin.
Après que Bilal est repéré et arrêté par la police il rencontre Simon, ainsi commence l'apprentissage de la natation mais les conséquences seront désastreuses.

Le Bon:

Tout. En particulier Vincent Lindon, exceptionnel de vérité, de sensibilité, d'humanité. Le jeune clandestin, Bilal, (Firat Ayverdi), ne devrait pas se faire oublier. Quant à Audrey Dana, l'ex-femme de Simon, elle apporte avec une délicatesse inouïe, le contrepoint de féminité bien nécessaire dans ce monde de brutes.

La Brute:

Si vous êtes comme moi, ce film fera vibrer vos cordes sensibles, et vous pleurerez.

Le Franchement Laid:

Pour moi le scène dans lequel
les migrants doivent se mettre la tête dans un sac plastique au passage du contrôle de la police à Calais pour ne pas expirer de gaz carbonique, c'est dur à regarder.

Le Verdict Final:

Comme un Ken Loach français capable de traiter des sujets sociaux avec style et témérité, Lioret nous plonge la tête dans le sac pendant un premier quart d’heure intense et criant de vérité. Il nous démontré que ces gens résignés à des méthodes désespérées ont un visage, une langue et un vécu.
Ce film marche à alerter tous les français sans doute pas assez conscients du drame humain qui se joue tous les jours autour d'eux, bien que ce film ne plaira pas à tout le monde. Je le recommanderais à tous ceux qui aiment les films qui vous font penser.


La bande-annonce.



Date de sortie cinéma : 2009
Réalisé par: Philippe Lioret
Avec: Vincent Lindon, Firat Ayverdi, Derya Ayverdi
Pays d'origine: France

Kirikou et la sorcière: Review / Une Critique


What's it all about? / De quoi s'agit-il?:


The Good / Le Bon:

The Bad / La Brute:

The Downright Ugly / Le Franchement Laid:

Final Verdict / Le Verdict Final:

Release Date / Date de sortie
cinéma: 1998
Directed By / Réalisé par: Michel Ocelot
Starring / Avec:
Doudou Gueye Thiaw, Awa Sene Sarr
Country of Origin / Pays d'origine:
France / Belgium, Belgique / Luxembourg

Mon Oncle Antoine: Review

What's it all about?:

Set in a small Québec mining community around Christmas, this coming of age film examines life in the Maurice Duplessis-era of rural Québec, prior to the Asbestos Strike of the late 1940s.
The plot of Mon oncle Antoine revolves around a family store owned by Antoine, who also runs the local undertaking business. The story is told from the point of view of a 15 year-old central character, Benoît, a young boy who lives with his uncle and aunt Cécile at the store and who observes the adults around him with an amused but critical eye.
The Asbestos Strike is regarded by Québec historians as a seminal event that led to the Quiet Revolution. Jutra's film, thus, is viewed as an examination of the social conditions in Québec's old, agrarian, conservative and cleric dominated society that gave birth to the dramatic social and political changes that transformed the province a decade later.

The Good:

The film draws the spectator into Benoît's perspective on his community, and much of its appeal derives from its depiction of an apparently simpler past by the cinematic device of a child witness, we see the world through his eyes, looking at his corrupting community with fresh and innocent eyes. Mon oncle Antoine demonstrated the possibilities of Canadian cinema at a time when few Canadian feature films had achieved critical or commercial success. This film has twice been hailed as "the great Canadian movie," something it has remained ever since. In 1980 it was voted the best film ever made in Québec in a poll of critics conducted by Séquences magazine, and it was honoured as the best Canadian film in similar polls conducted by the Toronto Festival of Festivals (now the Toronto International Film Festival) in 1984 and 1993.

The Bad:

Some scenes drags on a little, viewers should be aware that this is an autobiographical, contemplative film which shows, in a very simple simple direct style, the bleak and stoic life of a small community, living next to giant slag heaps of asbestos.

The Downright Ugly:

Viewers who're looking for entertainment will be sorely disappointed.

Final Verdict:

The plot is a good one; it leaves you thinking, and it involves a boy's coming of age, sex, love and death, however Mon Oncle Antoine is about revolution, albeit a Quiet one. It manages to capture a time in Québec not often portrayed in cinema. Mon Oncle Antoine's strength lies in the depth of its characters and the richness of the settings. However, it will only appeal to a certain type of cinema goer.

Release Date: 1971
Directed by: Claude Jutra
Starring: Jacques Gagnon, Jean Duceppe
Country of Origin: Canada

Mon Cher Camarade: Feature



During World War II, hundreds of French-speaking Cajun men from South Louisiana enlisted in the U.S. military. Their linguistic skills and French heritage had been denigrated for decades in South Louisiana and was ridiculed as well by American officers in the processing centers at Camp Shelby, Mississippi, and Fort Polk, Louisiana. Remarkably, these same men found that their ability to speak French became of vital importance to the American war effort in French North Africa and in France and Belgium. French-speaking Cajuns not only worked with the French resistance after D-Day, but they also provided the U.S. Army’s most effective means of communication with local authorities and the civilian population, which, in turn, provided critical support and intelligence to the American army. Indeed, Cajun translators were as important to the American war effort as the now much acclaimed Native American “Code Talkers,” yet, the Cajun translators’ contributions in this regard have been largely ignored until now.

This documentary film, through memoirs and interviews of French-speaking Cajuns who served in WWII either as members of the OSS or as citizen soldiers, tells the story of this important aspect of the American war effort in Europe. Additionally, cultural scholars provide insight into the stories of these veterans from both an historic and linguistic perspective. As a result, this documentary film allows the audience to take a new look at the American experience, from a South Louisiana perspective. The Cajun G.I.’s of World War II were American citizens, however, their cultural pedigree was tributary to something other than the typical American experience. The end result is a film that acknowledges the unique and important contributions of the French-speaking Cajun soldiers to the war effort and gives long overdue credit to them and their linguistic skills and French heritage.

The story is told through a combination of powerful archival WWII film footage, moving interviews in both English and French with Cajun veterans who served in the OSS or as citizen soldiers, an original soundtrack by Sam Broussard, and 35mm film footage of the Southwest Louisiana winter landscape that symbolizes the last act of these veterans’ lives when their stories can and shoud be told.

Bamako: Review / Une Critique


What's it all about? / De quoi s'agit-il?:

Melé is a bar singer, her husband Chaka is out of work and the couple is on the verge of breaking up...
In the courtyard of the house they share with others families, a trial court has been set up. African civil society spokesmen have taken proceedings against the World Bank and the IMF whom they blame for Africa's woes...
Amidst the pleas and the testimonies, life goes on in the courtyard.
Chaka does not seem to be concerned by this new Africa's desire to fight for it's rights...
/
Melé est chanteuse dans un bar, son mari Chaka est sans travail, leur couple se déchire...
Dans la cour de la maison qu'ils partagent avec d'autres familles, un tribunal a été installé. Des représentants de la société civile africaine ont engagé une procédure judiciaire contre la Banque Mondiale et le FMI qu'ils jugent responsables du drame qui secoue l'Afrique.
Entre plaidoiries et témoignages,la vie continue dans la cour.
Chaka semble indifférent à cette volonté inédite de l'Afrique de réclamer ses droits...

The Good / Le Bon:

Ce film mélange une partie de fiction scénarisée par Sissako et un procès improvisé par de vrais avocats, (dont les Français William Bourdon et Roland Rappaport), président du jury et témoins. Les divers "acteurs" du procès ont donc élaboré leurs propres arguments et plaidoiries, donnant
une vision intéressante de la mondialisation et de ses conséquences en Afrique.
Ainsi que cette vision des politiques mondiales, Aïssa Maïga, selon moi une des meilleures et une des actrices la plus belle de la France en ce moment, joue son rôle avec sensibilité et aplomb.
/
This films manages to merge a fictional plot written by Sissako and an impromptu trial with real lawyers (among them William Bourdon and Roland Rappaport from France) who preside over the jury and witnesses. The various 'actors' in the trial have elaborated their own stories and pleas, and the whole film gives us an interesting vision of globalization and its consequences in Africa.
As well as this vision of world policies, Aïssa Maïga, in my opinion one of the best and most beautiful French actresses around at the moment, interprets her role with sensitivity and aplomb.

The Bad / La Brute:


For us in the West, this film presents us with some pretty uncomfortable home truths about globalization.
/
Pour nous dans le monde occidentale, ce film nous présente quelques vérités assez penibles concernant la mondialisation.

The Downright Ugly / Le Franchement Laid:

If you have no interest in world politics, i'd not recommend this film, it's definitely quite a slow burner!/
Si vous n'êtes pas intéressé par la politique mondiale, je ne recommenderai pas ce film, qui avance sans doute au ralenti!

Final Verdict / Le Verdict Final:


Watch out for: Danny Glover (co-producer of the film), who unexpectedly crops up when several characters are watching Malian television, which broadcasts a film within the film, a parody of spaghetti westerns 'Death in Timbuktu'. Which ironically shows the current complexity of the modern world, and the negative effects of globalization in the southern hemisphere. The cowboys are played by Sissako (the director) himself, Danny Glover and a few friends of Sissako, who all agreed to play their parts free of charge.
/
Faire attention à: Danny Glover (qui est co-producteur du film), qui à l'improviste surgit lors d'une scène où des personnages regardent la télévision malienne, cette dernière diffuse un faux film qui est une parodie de western spaghetti, "Death in Timbuktu". Ironisant sur le monde actuel et montrant la complexité des choses: une symbole d'une coresponsabilité des effets négatifs de la mondialisation actuelle dans les pays de sud. Les cow-boys sont joués par Sissako lui-même, Danny Glover et d'autres amis personnels de Sissako, tous ayant accepté de jouer cette partie gratuitement.

Release Date / Date de sortie cinéma : 2006
Directed by / Réalisé par: Abderrahmane Sissako
Starring / Avec: Aïssa Maïga, Tiécoura Traoré
Country of Origin / Pays d'origine: Mali

Wednesday 16 June 2010

Panique au village: Review / Une critique


What's it all about? / De quoi s'agit-il?

This feature length, is a Belgian animated film directed and written with the same technique by Stéphane Aubier and Vincent Patar based on the eponymous series broadcast on Canal + in 2002. Filmed in stop - motion, with the characters performed by miniature plastic figures - Cowboy, Indian and Horse.
The plot?: Cowboy and Indian are professionals in catastrophe. As soon as they have a plan, chaos ensues. On this occasion, they want to wish Horse a happy birthday.
But what to give him? They decide upon a do-it-yourself barbecue kit.
It's a nice idea, except for when the order goes wrong and Cowboy and Indian get lumbered with a billion bricks instead. A birthday no longer, it becomes a brick tsunami and Horse's house is subsequently flattened. They have to rebuild it. Especially seeing as there are thieves taking away the walls as soon as they're built. It's obvious that Horse will never be able to make the most of his special day or get back to the filly that he loves...
Love, adventure and emotion, from the centre of the Earth to the North Pole and crossing the Atlantic Ocean on the way, this film has it all.
/
Ce long-métrage, est un film d'animation belge réalisé et écrit avec la même technique par Stéphane Aubier et Vincent Patar d'après la série éponyme diffusée sur Canal + en 2002. Réalisé en stop-motion, à partir de personnages représentés sous forme de figurines - Co-boy, Indien et Cheval.
L'intrigue?: Co-Boy et Indien sont des professionnels de la catastrophe. Dès qu'ils ont un projet, le chaos sort de sa boîte. Cette fois, ils veulent souhaiter un joyeux anniversaire à Cheval.
Mais quel cadeau ? Ils décident d'un barbecue à faire soi-même !
Belle idée, sauf que la commande dérape, et que Co-Boy et Indien se font livrer un milliard de briques. Ce n'est plus un anniversaire, c'est un tsunami. La maison de Cheval disparaît sous les briques, écrasée.
Il faut la reconstruire. Surtout que des voleurs s'emparent des murs dès qu'ils sont bâtis. Décidemment, Cheval ne pourra jamais profiter de ce jour spécial pour rejoindre la pouliche qu'il aime...
Amour, aventure et émotion, du centre de la Terre au Pôle Nord en passant par l'Océan Atlantique, ce film en a tout.


The Good / Le Bon:

A hilarious, surreal, anarchic film with several occasions that made me laugh out loud, this stop-motion animation (think Wallace and Gromit but less intricate), is truly inventive and a joy to watch for all ages.
It's also a fine example of how creativity, and a solid script can eclipse the need for effects, giant lighting kits, and most of the other expensive cinematic 'fundamentals'. Panique au Vilage is inspirationally small-scale but still manages to convey a convincing, charming sense of adventure using only wit and effort.
/
Un film désopilant, surréaliste, et anarchique qui plusieurs fois me faisait rire, ce film d'animation stop-motion (genre Wallace mais moins compliqué), est vraiment inventif et un plaisir de regarder pour tous les âges.
Le film aussi donne un bon exemple de comment la créativité, et un scénario solide peut éclipser le besoin pour des effets spéciaux, des trousses d'éclairage géantes, et la majorité d'autres 'fondamentales' chères du cinéma. Panique au Village est une inspiration d'un film réduit cependant il peut encore transmettre, un sens charmant d'aventure en utilisant seulement l'esprit et l'effort.

The Bad / La Brute:

For some the production quality and plot (perhaps lack of plot) might make this film hard to watch (but these people would do well to loosen up a bit).
/
Pour quelques gens la qualité de production et le scénario (ou peut être manque de scénario) pourrait le rendre difficile à regarder (mais ces gens-là profiteraient de se détendre un peu).

The Downright Ugly / Le Franchement Laid:

Nothing to mention / Rien à déclarer.

Final Verdict / Le Verdict Final:

Often strange yet brilliant, fun for the whole family. / Souvent bizarre mais brillant, ce film est du plaisir pour toute la famille.

Click here to see the teaser!/ Cliquez ici à voir le teaser!

Release Date / Date de sortie cinéma : 2009
Directed by / Réalisé par: Stéphane Aubier, Vincent Patar
Starring / Avec: Stéphane Aubier, Jeanne Balibar, Vincent Patar, Benoît Poelvoorde
Country of Origin / Pays d'origine: Belgium / Belgique

Saturday 12 June 2010

Lascars: Une Critique


De quoi s'agit-il?

Condé-sur-Ginette, en périphérie d'une grande ville, à mille lieux du sable chaud, des cocotiers et du bleu océan des Caraïbes. C'est l'été. Le soleil brûle le chrome des mobylettes, réchauffe le bitume des tours, asphyxie les halls d'immeubles et crame les esprits. Ici, tout le monde rêve des plages de Santo Rico. Certains plus que d'autres. Pour Tony Merguez et José Frelate, les deux MC's du quartier, le départ est imminent. Mais l'agence de voyage responsable de leur billet a zappé le nom de la destination. Retour à la case Ginette ! Pour refaire surface, Tony se mue en Montana façon Scarface et tente de refourguer un peu d'herbe fraîche 'gentiment' prêtée par Zoran, brute épaisse aux pieds pas vraiment d'argile. José de son côté joue les Don Juan dans une grosse villa, occupée par Momo l'incruste et la belle... Clémence. Tout aurait pu rouler, si une maîtresse en furie, des réalisateurs plutôt amateurs, un sauna norvégien, des policiers énervés ou encore un juge coriace, n'en avaient décidé autrement... (Voir la bande-annonce)

Le Bon:

Pour ceux qui connaissent la série, ils trouveront sans doute que Lascars, le long métrage est une vrai réussite de l'animation. En fait, même si vous ne connaissez pas la série diffusée sur Canal +, ce film est effectivement un petit bijou. Le casting de voix est lumineux, Vincent Cassel excelle comme toujours, l'animation (dans une époque d'animation et dessin réaliste et informatisé) est trés jolie, le scénario trés solide, et il y a des gags et des scénes qui sont super marrants.

La Brute:

Pour ceux qui n'ont pas des bases en verlan il y a des scènes peu compréhensibles.

Le Franchement Laid:


Rien à déclarer!

Le Verdict Final:

Allez-voir ce film! Vous allez le kiffer. C'est génial, pas de mythos!

Date de sortie cinéma : 2009
Réalisé par: Albert Pereira Lazaro, Emmanuel Klotz, Albert Pereira-Lazaro
Avec: Vincent Cassel, Omar Sy, Fred Testot
Pays d'origine: France

Maurice Richard: Review


What's it all about?:

A French-Canadian sports bio-pic about the life and career of legendary (in Canada, especially in Quebec) ice hockey player Maurice 'The Rocket' Richard. This film spans from his early days as a teenage factory machinist in the 1930's playing hockey whenever he could, his subsequent rise to fame and struggles with injury as a key member of the Montreal Canadiens, and his triumphal final season in which he led Montreal to its fifth Stanley Cup Championship trophy in a row. The film also deals with the discrimination faced by French speaking hockey players in the anglophone NHL, and also portrays Richard's suspension after retaliating against a linesman who was physically restraining him, which in turn believe it or not sparked the Richard Riot.
The ensuing riot in which 41 people were arrested, and 12 policeman and 25 civilians injured, caused an estimated $100,000 in damages and is seen by some to represent the beginning of the La Révolution tranquille, and marked a significant shift in Quebec Nationalism.

The Good:

This film pretty much swept the Genies (Canada's version of the Oscars) and won 9 awards out of 13 categories. However, of note is Roy Dupuis' performance as Richard, which deservedly won Best Performance by an Actor in a Leading Role. Dupuis, who you may have seen in the recent Mesrine: L'instinct de Mort, thrives as the quiet, yet strong willed hockey player whose articles against the discrimination directed at the French speaking canadians often got him into trouble.
Excellently written by Ken Scott and well directed by Charles Binamé, the film also had a tremendous budget of $8,000,000 Canadian dollars, and it shows, all scenes were produced to be as true to reality as possible; and the production design, costumes, sound, and editing all accordingly won awards.
I should also add that the scene where Maurice Richard absolutely owns Sean Avery by knocking hilm down twice after being told to run away is a joy to watch.

The Bad:

Apart from having to concentrate to grasp the meaning of several québécois phrases, it would be fair enough to say that although not a 'bad' aspect, the film definitely has an esoteric appeal, and anyone who has little to no interest in hockey would do well to give this film a swerve. Having said that, the story of one individual struggling through life and sport to acheive respect and recognition is universal, e.g. Cinderella Man, Million Dollar Baby etc and if that's not your cup of tea, the secondary themes of a softspoken family man becoming a symbol for his people and overcoming bias on the way should be.

The Downright Ugly:


Nothing to report: a good old wholesome sports film.

Final Verdict:

A highly enjoyable film about one man overcoming adversity without seeming too hackneyed and clichéd, worth a watch for anyone who is interested in modern Canadian history, the importance of the French language, ethnic and cultural troubles or if you just plain enjoy 'boy done good' sports films.

For more info: http://www.nfb.ca/film/Rocket_Le

Release date: 2005
Directed by: Charles Binamé
Starring: Roy Dupuis, Julie Le Breton, Stephen McHattie
Country of Origin: Canada

Sunday 4 April 2010

C'est arrivé près de chez vous: Review


What's it all about?:

A hilariously satirical mockumentary that revolves around a student film crew as they follow a serial killer. As the crew document and observe his crimes, he reveals to the camera his insights on life, love, art, nature, music and society. The crew, who at first are dispassionate observers gradually begin to get caught up in the chaotic violence that surrounds the focus of their documentary: Ben.

The Good:

Where to start? Although the mix of shocking violence and black comedy may come as a bit of surprise to some viewers, this film truly is exceptional. Shot on the lowest of low budgets by four Belgian students, C'est arrivé près de chez vous (It happened near you) is both a commentary on human being's fascination with the macabre and the media's obsession with violence, but don't let that put you off.
Benoît Poelvoorde absolutely shines as the charismatic and pretentious murdering psychopath, his quick humour, awful poetry recitals and general joie de vivre endear him to the viewer, regardless of the atrocities he commits (e.g. screaming at an old lady with a heart condition in order to save a bullet). However, the mastery and strength of this film lies in its tongue in cheek ability to make the audience ask itself questions regarding complacency to violence.

The Bad:

Apart from Benoît's self penned poetry:

« Pigeon !
Oiseau à la grise robe,
Dans l'enfer des villes
À mon regard, tu te dérobes,
Tu es vraiment le plus agile. »


the film has some genuinely disturbing moments, and is not for the faint of heart.

The Downright Ugly:


Aside from the aforementioned in-your-face violence, for anyone familiar with the l'affaire Grégory, the whole 'petit Grégory' cocktail scene is pretty bad taste, in a film that in general is very distasteful.

Final Verdict:



One of the best things to have ever come out of Belgium, go and watch this film, unless you're an easily offended or shocked OAP / postman.

Release date: 1992
Directed by:
Rémy Belvaux, André Bonzel, Benoît Poelvoorde
Starring:
Benoît Poelvoorde
Country of Origin: Belgium

Maléfique : Review


What's it all about? :

Four prisoners occupying the same cell stumble upon a spell book that seems to be the answer to escape.

Four prisoners in a cell, the new boy Carrère, imprisoned for committing a company fraud; Marcus, an aspiring transsexual and his dependent, Pâquerette the compulsive eater; and Lassale, a cravat-wearing former librarian and philosopher.
One evening, Carrère and Marcus discover a journal hidden in the wall of the cell. This journal written by a former inmate in the 1920's, the youth obsessed serial killer Danvers; seems to reveal the secret to escaping their prison. But something sinister lies within its pages......

The Good:

The fact that the majority of the film takes place in a single cell and that the first half, which is steeped in interesting character development and black humour and driven by dialogue gives Maléfique the feeling of a stage play, something made possible by the sterling effort of the cast whose interpretations of these intriguing characters help to maintain the audience's attention. In particular the ever-watchable Clovis Cornillac in his role as the butch-bitch Marcus, and Dimitri Rataud's 'more excitable than an andrex puppy' character, Pâquerette.

The Bad:


It has to be said that the main concept of the plot is a fairly familiar formula: the discovery of a strange mystical object, the characters then use said object, and subsequently discover that it's not all it was cracked up to be is something many viewers will already be accustomed to in this genre of film.

The Downright Ugly:


A vagina collage, Clovis breastfeeding his cellmate, and existential sodomy; google any of that if you dare.

Final Verdict:

A well directed horror film, with a couple of stand out moments and misfit characters that is well worth a watch, if you've got nothing better to do that is.

Release date: 2002
Directed by: Eric Valette
Starring: Gérald Laroche, Philippe Laudenbach, Clovis Cornillac, Dimitri Rataud
Country of Origin: France