Planet of the Apes: The New Kingdom, The Spirit of Coubertin, Blue & Company: What's new at the cinema this week
What to see in theaters
THE EVENT
PLANET OF THE APES: THE NEW KINGDOM ★★★★☆
By Wes Ball
The essential
By mixing an initiatory story, a great adventure film and a nervous infiltration film, Wes Ball succeeds in his bet
We are a few centuries after the events of Wyatt and Reeves' trilogy. Men have been reduced to a savage state. In place of the dead Caesar, a new leader appeared. Proximus, a tyrannical and cruel bonobo who ravages the camp where a young chimpanzee Noa lived in peace with his clan and forces the latter to begin a long journey where he meets a strange human along the way… This New Kingdom is signed Wes Ball who distinguished himself by directing the very nervous first part of the Labyrinth. His version of Planet of the Apes has impressive sets and special effects. Both an initiatory story (we follow Noa as she discovers the world), a great adventure film with many hair-raising scenes and a nervous infiltration film, this New Kingdom basically reminds us that the 1968 film was as much a political reflection as a real B movie, fun and exciting. It is this last option that Wes Ball chose.
Peter Lunn
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FIRST TO LIKE
L'SPIRIT COUBERTIN ★★★☆☆
By Jérémie Sein
A non-sensical comedy about the Olympics, a mixture of slapstick, wicked satire and a hilarious portrait of a social misfit, Jérémie Sein's first film is a UFO in which Benjamin Voisin imposes a real comica screw: he found his clown in this role of Paul, a gifted shooting champion, a little awkward and very virgin, who finds himself in the Olympic village for the Paris Olympics. While the French delegation multiplies its failures, Paul will become the last chance for a medal. But a very embarrassing roommate, his very intrusive coach and a very annoying sports boss will put obstacles in his way. Sein signs a biting film, which moves between clear-cut comics, the scathing social comedy of the French 70s, and the totally regressive American classics.
Gaël Golhen
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LIKE A MONDAY ★★★☆☆
By Ryo Takebayashi
Another time loop film! It's starting to become a bit repetitive, but you'll tell us, that's the idea… After variations in horror mode (Happy Birthdead), romantic comedy (Palm Springs), SF (Edge of Tomorrow), and we move on, Like a Monday declines the concept in an office comedy style – logical, open-space living having in itself a side A day without end… Here, it's about employees of a Japanese advertising agency who find themselves reliving the same week over and over again. The atmosphere evokes Gondry, without the papier-mâché crafts, but for this mixture of prosaism and fantasy, of sloppy filming and little poetic absurdities – the effervescent miso soup on which the characters work, the “pigeon flashback” which could help find the way out… A light, charming film, on rather serious subjects, such as the relationship between the individual and the collective, or client meetings which bring down the hammer.
Frédéric Foubert
BLAGA’S LESSONS ★★★☆☆
By Stephan Komandarev
In Sofia Taxi his previous fiction released here, the Bulgarian Stephan Komandarev examined the absurdity and violence of his country's society still carrying with it the stigmata of its communist period. Its hero, a taxi driver caught in some shenanigans, found himself stuck in debt and chose to put an end to it. The film painted the portrait of a country without landmarks. It's Blaga's turn to find herself confronted with chaos. This former teacher, obviously very nice, is manipulated by thugs to whom she gives all her savings (the opening sequence is oppressive) Distraught, Blaga is forced to work for the very people who cheated her if she wants regain your savings. His morality wavers and his effectiveness in doing evil transforms this harmless being into a cold monster. Komandarev watches his country sink. Almost without moving. Terrible observation.
Thomas Baura
SUPER LION ★★★☆☆
By Rasmus A. Sivertsen and Jean-Luc Julien
Straight from Norway, Super Leo, it is the coming-of-age of Evie, from a family of vigilantes. His dream ? Take over. At least, that's what she was convinced of. Trained by a rock'n'roll granny, Evie will do everything possible to tick all the boxes of normality established by a not-so-“Mr. Incredible” dad. great ” only that. Despite a somewhat redundant structure, Rasmus A. Sivertsen and Jean-Luc Julien have succeeded in creating a film that is hybrid in its use of animation and resolutely modern, exploring in detail – but without judgment – the needs and behaviors of 'a youth who grew up with digital technology. A playful reflection on marginality and acceptance common to many children's films, but which, here, seems aimed at adults more than children.
Chloé Delos- Eray
ETERNAL MEMORY ★★★☆☆
By Maite Alberdi
She, the actress and politician Paulina Urrutia, keeps the memory alive. He, the Chilean journalist Augusto Góngora, loses it. In this intimate documentary, Maite Alberdi follows their relationship over several years while Augusto fights tirelessly against Alzheimer's. But rather than dramatizing the illness, the director approaches it lightly and examines Paulina's unfailing dedication. And from these moments of tenderness and laughter, interspersed with heartbreaking affliction, only unconditional love remains.
Lucie Chiquer
FILM ANNOUNCEMENT OF THE FILM THAT NEVER EXISTSTERA NEVER: FUNNY WARS ★★★☆☆
By Jean-Luc Godard
Godard's voice has been intimately linked to his images since the famous History(s) of cinema from 1998, where, positioned overhanging, she conveyed her thoughts whose cavernous diction set a solemn rhythm. Godard, man of words, sound and movement-images “ who would come from far away » as we hear in a whisper at the beginning of this “trailer” for a film which will therefore never exist. It should have been called Funny warsfree – necessarily free – adaptation of the popular novel by Belgian Charles Plisnier, Fake passports (1937), twilight reflection on fallen communist ideals. “ I was interested in these imaginary or real portraits of some activists of the time that he had known around 1920, said Godard in his quavering voice mid-film, He was more like a literary painter, he made portraits of faces or appearances… » All that remains of this project are scattered fragments whose organization inevitably escapes, visual collages, eruptive sounds edited with a chopper, penetrating music, where words collide. A film that can be listened to and watched.
Thomas Baura
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FIRST TO MODERATELY LIKED
A MAN ON THE FLEETE ★★☆☆☆
By Baptiste Debraux
The town of Rochebrune is angry: the robbery of a van by a protesting worker causes violent divisions. A dark stranger and a tenacious cop lead the investigation… Under Nordic influence, this thriller evolves awkwardly between flashbacks and flashforwards, has a series of improbable twists and turns, and struggles to develop a real political statement. There remains the incredible Pierre Lottin as a phlegmatic thug, who clearly steals the show from the rest of the cast.
Yohan Haddad
LIFE ACCORDING TO ANN ★★☆☆☆
By Joanna Arnow
A New York comedy about the world of work and BDSM. The meeting between Woody Allen and Lena Dunham? In part, minus the existential distress of the first and the acidity of the second. All the situations aim to highlight some contemporary misfortunes; and a sex life that deviates even slightly from the norm would almost seem like a mistake. What a shame that the actress-director chose such a simplistic resolution, when the setting left one to dream of being so much more subversive…
Nicholas Moreno
FIRST DID NOT LIKE
BLUE & COMPANY ★☆☆☆☆
By John Krasinski
With the cardboard Without a sound and one Without a sound 2 not too bad in the genre, John Krasinski tries to reinvent himself by telling the story of a kid who goes to the rescue of imaginary friends abandoned by their children who have become adults, Blue & company isn't really interesting when it's on the verge of turning into a horror film. But it seems that he doesn't even realize it, that he has judged that it would be more lucrative to bet everything on the melodrama, however heavy it may be. On the program: multiplication of little background gimmicks supposed to support the point, somnambulistic acting by Ryan Reynolds, pathos on all levels to the sound of a melody by Michael Giacchino looped, stretched, slowed down, hammered until that it no longer produces, or reinvents, anything. Like the entire film.
Sylvestre Picard
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NEUILLY-POISSY ★☆☆☆☆
By Grégory Boutboul
Neuilly Poissy. Beautiful geographical oxymoron, which sums up the tensions of this funnel film (catching all the societal refrains of the moment). We start with a story of scam, we branch off towards the prison film like O.Z. (violence, racism), before moving on to a treaty of religious cohabitation (because we are all brothers, deep down) which is abolished in a hypothetical redemption. It never works because of the caricature, the inconsistencies but above all because, in Neuilly as in Poissy, good feelings have never made good films.
Peter Lunn
MY WORST ENEMY ★☆☆☆☆
By Mehran Tamadon
Mojtaba, Hamzeh, Zar (Amir Ebrahimi, the heroine of Nights of Masshad), have in common that they were violently interrogated by agents of the Islamic Republic of Iran. Between testimonies and reconstructions, Mehran Tamadon invites the victims to put themselves in the shoes of the torturers and to make the false respondents suffer to help us understand the violence of the regime. A device which creates unease without, unfortunately, allowing us to better understand the extent of the horror underway in the country.
Emma Poesy
YOUTH, MY LOVE ★☆☆☆☆
By Léo Fontaine
A group of friends from their youth who meet again, after years which have gradually weakened the bond that united them, for an afternoon where the unsaid things of yesterday will come to the surface. For his first feature film, Léo Fontaine chose to explore a terrain so explored by cinema that he proves incapable of making a little singular music heard, the fault of characters, situations and exchanges too locked in archetypes .
Thierry Cheze
COLOR IN THE HANDS ★☆☆☆☆
By Nora Hamdi
A young aspiring painter, newly installed in a Parisian studio, finds herself obliged to Frenchify the name that appears on her mailbox. Yasmine Bellifa thus becomes Janine Beli. A “detail” which takes her back to the memory of relatives she never knew, victims of terrorism in Algeria, and which transforms her experience of bohemia into an existential crisis. For her third feature, the novelist Nora Hamdi adapts one of her works in a literary style that leaves no room for the innuendoes that the images allow. Here, the wandering in the City of Light – of which we only see the corners – constitutes a didactic diary without ever succeeding in hiding the technical fragilities of this trial and error of a film, where the languor of the character is transformed into length.
Chloé Delos- Eray
Et also
All the colors of the world, by Babatunde Apalowo
One day girl, by Jean-Claude Monod
Wake upfrom RKSS
Repeats
Aloise, by Liliane de Kermadec
The rocking garden, by Guy Gilles
Without knowing anything about her, by Luigi Commencini
