Bad boys: Ride or Die, La Petite vadrouille, Tunnel to Summer: what’s new at the cinema this week
What to see in theaters
THE EVENT
BAD BOYS: RIDE OR DIE ★★★☆☆
By Adil El Arbi and Bilall Fallah
The essential
After a sluggish third part, Adil El Arbi and Bilall Fallah have finally found the formula to make a good Bad Boys.
We owe the previous part of the franchise to Adil El Arbi and Bilall Fallah Bad boys. A Bad Boys For Life particularly soft on the knee and devoid of the madness of Michael Bay. So we didn't expect much from their new opus of the adventures of the two cop friends in Miami and… we were partly wrong! To the point of wondering if Bad Boys 3 was not just a demo reel for the director duo before this successful fourth episode. A very relative success, let's be clear: we are in the universe Bad Boys, which is based on the dynamic between the more or less crude jokes of Martin Lawrence and the tired phlegm of Will Smith, along a detective plot as classic as a blunder. But the action scenes are great, the rhythm is there, with a whole range of visual tricks to guarantee that we won't look (too much) at our watch… The film escapes any theorization other than that of its own buddy formula movie a little grandpa, a little old-fashioned, but still very funny!
Sylvestre Picard
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FIRST TO LIKE
THE LITTLE MOP ★★★☆☆
By Bruno Podalydès
Bruno Podalydès has imagined here a joyous scam with the air of social satire where a rich businessman asks one of his employees to organize an idyllic weekend for him in exchange for a nice sum of money. The interested party invites her husband and their group of broke friends into the scheme, who will all pose as members of a marine crew and embark on a fake river cruise in the hope of obtaining as much money as possible. of the posh passenger. If the story of this phony is a pretext for filming a sparkling waltz of lies in the heart of verdant nature, the comic success is also due to the enthusiastic performance of Daniel Auteuil who has fun like a madman in the skin of a seducer with an old-fashioned charm that turns out to be less naive than expected. This rustic tale exalts the love of theatrical illusion and makes us dream for a weekend of a gentler and more peaceful world.
Damien Leblanc
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TUNNEL TO SUMMER ★★★☆☆
By Tomohisa Taguchi
Imagine the crossover between the sumptuous Your name where two high school students suddenly started swapping bodies and Inception, where Nolan shook up space-time realities and you will have a small idea of what awaits you in front of this animated gem, awarded at Annecy. Because it is also about two teenagers, two characters with internalized suffering (Kaoru with a violent father who is incapable of mourning the recent death of his little sister and Anzu, an orphan dreaming of becoming a mangaka like her grandfather) but also travel in space-time through a mysterious tunnel allowing the wishes of those who dare to venture there to be granted, knowing that a few seconds spent inside it causes accelerated aging. Poetic, sensitive but never tearful, Tunnel to summer speaks with the same splendor of hearts that race for the first time with mourning and the difficulty of separating from a loved one.
Thierry Cheze
DISSENTING ★★★☆☆
By Pier-Philippe Chevigny
Grand Prix, prize for female interpretation (Ariane Castellanos, impressive) and the public, this first feature monopolized the major trophies of the Saint-Jean de Luz festival and that is only fair. Embracing a social reality that is invisible in Canada (a Guatemalan workforce exploited without scruple), Pier-Philippe Chevigny draws on documented investigative work to develop a fiction centered on Ariane, a woman hired as a translator in a Quebec factory who will rebel against this form of modern slavery even though she herself is in a delicate financial situation. There is Loach in the journey of this heroine stuck between a rock and a hard place who, however, is not a simple copy, thanks to the way in which Chevigny films Ariane, always as close as possible to her with a feeling of suffocation thus giving rise to an immersive film which does not leave you unscathed.
Thierry Cheze
THE VINCA CURIE CASE ★★★☆☆
By Dragan Bjelogrlic
In 1958, Yugoslav researchers seriously irradiated following an accident were repatriated to France when they were suspected of working on the development of the nuclear bomb. Professor Georges Mathé then embarks on a race against time to save them based on the experimental procedures of his recent studies and will revolutionize oncology by performing the first bone marrow transplants. But much more than the portrait of this determined man, The Vinca Curie Affair here brilliantly captures the complex relationships between ideologies while questioning the qualities of scientific progress in a dialogue blurred by cultural differences. Dragan Bjelogrlic succeeds in capturing the beauty of a curious observation: the first bone marrow transplants saved the lives of the first inventors of nuclear weapons.
Bastien Assie
THE GARDAV ★★★☆☆
By Thomas Lemoine and Dimitri Lemoine
If the first twenty minutes of Gardav pedal through the semolina with half-hearted acting and a story that struggles to settle down – that of Mathieu, a cardboard actor who participates in his friend Ousmane's rap video in a suburban neighborhood – the film bounces when he decides to push the sliders further. So, the shooting goes wrong and the problems continue until the police are attracted to the scene. Result of the races: Mathieu, a bit of an idiot, ends up in police custody. From there, hilarious misunderstandings proliferate where our protagonist and two dirty cops (Pierre Lottin and Benjamin Baffie, in great form) pass the buck with ever more incongruous replies. Through his writing, as sharp as it is refreshing, Gardav succeeds in a modern satire of the police/suburb relationship and avoids excessively politicized discourse. Laughter guaranteed!
Lucie Chiquer
ORLANDO, MY POLITICAL BIOGRAPHY ★★★☆☆
By Paul B. Preciado
“ In this film, I will be Virginia Woolf's Orlando. » It is with this singular sentence that each protagonist of this documentary introduces himself, facing the camera. There are 26 of them, aged 8 to 70, from transgender to non-binary, and take turns playing the character ofOrlando published in 1928, the first to have a sex change in a novel. A bit like Agnès Varda, the writer and transgender activist Paul B. Preciado transforms himself into a puppeteer and takes pleasure in staging his characters who have become figurines, carrying out with them an amusing contemporary rereading of Virginia's work Woolf. The result is a pretty patchwork – although a little messy at times – dotted with archive images and current testimonies. Eminently personal and vulnerable, this hybrid documentary nonetheless remains instructive and confronts the viewer, always with kindness, with gender issues.
Lucie Chiquer
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FIRST TO MODERATELY LIKED
MEETING WITH POL POT ★★☆☆☆
By Rithy Pan
Celebrated for his impressive documentaries (both in substance and form) dedicated to the history of Cambodia and the dictatorial policy of the Khmer Rouge of which he himself was a victim, Rithy Panh returns to this subject, through the prism of fiction: three French journalists are invited to produce a report, as well as an interview with Pol Pot, the country's “comrade number 1”. In this area, Panh appears less at ease than in the documentary, particularly in his direction of actors. And we wonder, for example, if Irène Jacob and Grégoire Colin deliver their text poorly or if they play well as journalists terrified by the authoritarian regime in which they have set foot. We are certain of few things in this film, in which the mixture of fiction and archive images works poorly, but we are sure that it would have gained in intensity if it had focused on Pol Pot and spared us a whole behind-the-scenes discovery phase.
Nicholas Moreno
WAITING FOR THE NIGHT ★★☆☆☆
By Céline Rouzet
A clean family arrives in a clean residential neighborhood. All this, we suspect, oozes darkness through every pore of the housing estate. The scenario does not lie to the viewer from the outset in confidence. Philémon, the teenager recently arrived in the region, needs blood to (sur)vive, accentuating his difficult integration with the local youth. The first part manages to establish a gentle unease and each member of the family seeks to hide the shameful “illness” of the eldest child in order to fit into a norm that is as fragile as it is saving. Through the character of the mother in particular, the filmmaker develops a clever suspense which cracks a story ready to implode under the blows of dull tension. Unfortunately, the scenario marks time and settles on the rails of an agreed coming of age where the fantastic becomes a pretext to replay the eternal score of adolescent annoyances. Damage.
Thomas Baura
Et also
Gold of life, by Boubacar Sangaré
A woman for Gianni, by Kartik Singh
The covers
Army of Shadows, by Jean-Pierre Melville
