Ghostbusters: The Ice Menace, There is No Evil, The Curse: The Origin: What's new at the cinema this week

Ghostbusters: The Ice Menace, There is No Evil, The Curse: The Origin: What's new at the cinema this week

What to see in theaters


By Gil Kenan

The essential

Gil Kenan mixes generations, from Dan Aykroyd to McKenna Grace via Paul Rudd for a new episode, certainly imperfect but clever and good spirited!

Direct continuation of The Legacy who managed to revive the Ghostbusters flame by taking it into the realm of family films, The Ice Menace opens with a spectacular sequence which sets the film on new rails, those of inflated blockbusters. Because here, the script is less interested in the characters than in the visuals and in a universe which is reminiscent of a cross between Del Toro and Spielberg for children. But the main objective of this sequel is not that: it is first of all a question of cramming in all the possible fetishes of the saga, even if this is done by sacrificing the intimate pulses which served as fuel for the previous film. But behind the fan service, there are design ideas that are enough to make this Ghostbusters perfectly recommendable.

Peter Lunn

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By Ryüsuke Hamaguchi

The action takes place in a village near Tokyo. The nature preserved by a population under cover is threatened by the arrival of a Glamping project supposed to bring together an urban population eager to relax in the great outdoors. The heart of the story sees a meeting between representatives of a communications company who have come to sell their “product” and locals who point out the damage caused by such an enterprise. But after adopting the point of view of the villagers, the director of Drive my car, faithful to the Renoirian axiom according to which everyone has their reasons, will change the axis of reading and make us travel with these people from the city baffled by the experience they have just had. This subjectivity is indeed the great thing about the film. We, spectators, faced with the images, are obliged to accept this world as it is. Accepting seeing certain protagonists sink into the thick forest and disappear before, like a distant echo, the original tracking shot resumes its course. The journey will be as sublime as it is intriguing from start to finish.

Thomas Baura

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By Sébastien Lifshitz

Sylvie Hofmann, a nurse manager in an oncology department of a Bouches du Rhône hospital, has lost her hearing. Suspected stroke, overwork, stress… Sébastien Lifschitz will follow the final hectic straight before his retirement, after 40 years of good and loyal service in the same establishment. And once again, the director ofTeenage girls achieves a tour de force by mixing long and short focal lengths, collective and individual. By taking stock of a public hospital while telling the story of this woman without filter, a reed that bends but never breaks despite her mother's repeated cancers, the one that threatens her in the long term, the heart problems of her companion and her hellish pace at work where COVID has only made an already chaotic situation worse. A deeply human and powerfully political documentary.

Thierry Cheze

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By Arkasha Stevenson

Nothing supernatural in the arrival of a prequel to The curse in the cinema landscape of the 2020s. If the franchise had already experienced a lazy remake manufactured by John Moore in 2006, The First Omen does not stand out within a horror landscape dominated by the A24 aesthetic and deploys the imagery of Exorcism-porn with application: evil nuns, noises in Latin and plotting priests in Italy in the 70s (just a framework temporal like any other). A young novice (amazing Nell Tiger Free, revealed by the series Servant) arrives in Rome to pronounce his vows, joins a boarding school haunted by a young woman who scribbles unhealthy drawings, and, my goodness, you pretty much know how it will all end. It is sometimes very effective but often predictable, without exploiting the more troubled moments that director Arkasha Stevenson captures (for example the heroine's sudden attraction to her roommate), for whom this is the first film.

Sylvestre Picard

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By Florent Bernard

Sandrine Leroy wants a divorce: her children are grown up and nothing is holding her back in a marriage. But Christophe, her car rental husband who is all too absent, tries everything to save his relationship: a last weekend for four on the roads of the past and the key places of their family history. From this true/false suspense, We, the Leroys does the reverse anatomy of a love story. It's about memories that never live up to their expectations, thwarted encounters and a devouring nostalgia. Grand Prix at Alpe d'Huez, a sincerely charming first film but which sometimes seeks its rhythm, where Florent Bernard establishes himself as the heir to Leconte de Tandem and offers José Garcia and Charlotte Gainsbourg their most beautiful score in a long time.

François Léger

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By Stéphanie Di Giusto

Stéphanie Di Giusto follows in the footsteps, in 1870 France, of Rosalie, a young woman whose entire body is covered in hair who first decides to hide this hormonal secret. Then who, after marrying the manager of the café in a quiet village, will come to terms with her status as a bearded woman, creating deep unrest among the villagers. Approached as an almost ordinary story of love and freedom, this sensitive story emphasizes the sensuality of a body like no other. The interpretations of Nadia Tereszkiewicz and Benoît Magimel are remarkable. And if not completely capsize our hearts, this atypical and bitter romance has the merit of elevating our spirits.

Damien Leblanc

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By Delphine Girard

In the dead of night, an emergency call half-heartedly reports the attack on a woman in a car, paralyzed by fear, and by her driver. On the line, a troubled 112 operator. Long first minutes in a thriller style, in apnea, which were enough to haunt the rest of the film. It is by reconstituting this story and its gray areas, like a three-sided puzzle, that the memories of this tragic night resurface. All three are painful, differently. Everyone deals with it in their own way. And if the destinies are more predictable – that of the legal battle in particular -, Delphine Girard, always at a safe distance, leaves no room for excess empathy or contempt for her protagonists and recounts both the hidden aggressor and the adored son, the traumatized victim and the mother/wife in search of reconstruction.

Lou Hupel

ENYS MEN ★★★☆☆

By Mark Jenkins

If the films of folk horror sometimes rely solely on a culture and practices unknown to the main character to bring out reality, Enys Men is radically distinguished by its almost exclusive recourse to nature, freed from any community. On an island in Cornwall, a woman observes and studies a plant, day by day, and writes down its stable condition in a precious notebook: “ no change “. It's hard not to think about the Jeanne Dielman by Chantal Akerman as this woman, alone, repeats the same gestures every day in the same order, and fights against a disruption in her daily life whose origin she does not understand. Little by little, the nature of the island seems to regain its rights, and all it takes is a connection or a sound clue to discover it in another, hostile light. On this flower that we thought was immutable, the flowers of evil began to grow.

Nicholas Moreno


By Andrei Cohn

Leiba, a straight-laced Jewish innkeeper, seeks to protect himself when one of his employees, a belligerent Christian named Gheorghe, threatens to kill him. New variation around the theme of anti-Semitism, Holy Week takes the time to unfold his action and chooses to adopt Leiba's point of view in order to historiograph the years preceding the Shoah. But rather than taking the side of his protagonist, Andrei Cohn chooses to oppose two cantankerous beings, who use the pretext of religion (Jewish for one, Christian for the other) in order to release their murderous impulses. By eyeing very skillfully towards the great works of slow cinema, the film succeeds in brilliantly showing the spread of an insidious hatred which finds its justification in a context of extreme poverty. The drama then gives way, in a majestic final hour, to a purely horrific object.

David Yankelevich

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By Mohamed Ben Attia

A guy goes through the toilet window, grabs an iron bar, enters an open space, pulverizes his workstation before throwing himself out the window. He will repeat this defenestration in a police station. In fact, Rafik (Majd Mastoura seen in Olfa's daughters), claims to have the power to fly. Which obviously no one believes since he still lands, inert, on the asphalt. His mother-in-law tells him without irony: “ Why did you screw it up? » Fear of conformity surely. In any case, this is the political direction taken by the filmmaker Mohamed Ben Attia (My dear child) which looks sideways at a stifled middle-class society. Beyond the mountains intrigue first (what film are we in exactly?), then settles down to hole up in a house (extending hostage situation), where we would have liked this fantastic drama to finally take off for good. Stealing is not playing.

Thomas Baura


By Xavier Bélony Mussel

Xavie, an experienced director, begins filming with a heterogeneous team: novice film students collaborate with old hands for a work that he imagines to be as representative as life. In this vain quest for authenticity, the metafilm castigates the egocentrism floating in the air of cinema. This pursuit of absolute realism returns a rigmarole that is difficult to interpret. The failed filmmaker touches this inextricable chimera with his fingertips, through the pitiful, where comic attempts take on water. And as a spectator, we witness almost with embarrassment a method which creates confusion as well as we set than in the mind.

Manon Bellahcene



By Sergio Machado and René Veilleux

Funny film, which attempts to reinterpret Noah's Ark in the Star Academy style, where two mice organize a singing competition to prevent predators from eating all the animals. Fuel at one character design cowardly in the form of a sub-Pixar, between caricature and hyperrealism, and full of jokes that make you look young (God blames Moses for leaving voice messages that are too long because he “prefers text messages”), Raiders of Noah's Ark will only be suitable for a very undemanding audience.

Sylvesbe Picard


By Nara Normande

Young adolescents, living a monotonous existence on a Brazilian cove, observe an enigmatic fellow creature on the beach. By focusing on a troupe of young people discovering with fear the origins of their sexuality, this coming-of-age story struggles to extricate itself from an bombastic classicism, an overflow of characters and an assumed complacency that harms his point.

Yohan Haddad

Et also

Fallen loves, by Stanley Kwan

Niagara, by Guillaume Lambert

Peppa at the cinema, short film program

reconciledtion: In the footsteps of the Cathars, by Freddy Snitch


The Chorisyourby Christophe Barratier

The Hitcherby Robert Harmon

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