Mission: Impossible- The Final Reckoning, young mothers, the arrival of the future: new features at the cinema this week
What to see in theaters
The event
Mission: Impossible- The Final Reckoning ★★ ☆ From
By Christopher McQuarrie
Essential
Despite a few pieces of astounding bravery, the franchise carried by Tom Cruise reaches his limits in this eighth episode, too long and bloated.
Second part of a diptych started with Dead Reckoning, The Final Reckoning is a film not only enormous, but downright elephant, announcing its narrative and emotional issues along an endless row of exhibition scenes, where the taste of Mcquarria transpareates for parallel assembly and verbose explanations with double or triple background. Everything seems too long and precipitated, fragmented. For almost three quarters of an hour, Mission: Impossible 8 Refuse to take off, leaded by gravity – a shame for a saga usually if at ease with high aerobatics. At least to the extraordinary submarine sequence in the center of the film, which sees Hunt explore the rubble of the Sevastopol, the submarine flowing in the opening of Dead Reckoning. Then another standard of anthology action scene-the biplane chase teasée by the promo-which deepens certain formal research of Dead Reckoning By targeting a kind of limit point of the Cruisian waterfall. These two large sequences alone deserve that we see The Final Reckoning On a (very large) cinema screen.
Frédéric Foubert
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First like a lot
Young mother ★★★★ ☆
Of Jean-Pierre and Luc Dardenne
By signing their first choral film, the Dardenne split the armor like never before, marrying the strong and contradictory emotions that cross their heroines. These are teenagers hosted in a maternal house, place of reception in Belgium for young women in social distress, pregnant or mothers of young children. One hopes that his boyfriend, released from prison, assumes his role as father. Another tent to reconnect with her mother (India Hair, masterful) who abandoned her baby. A third must decide if she places her child a host family. A fourth is trying to free oneself from his addictions … But this inventory at La Prévert does not make thanks to the film, everything except compilation of societal subjects. Young people Conversely, seduced by the way in which the stories intertwine while gradually letting up the surface the secrets buried of characters in search of light and hope despite all the winds.
Thierry Cheze
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Libertate ★★★★ ☆
By Tudor Giurgiu
December 1989, the city of Sibiu in the heart of Transylvania has been a battlefield since the Revolution against the Ceausescu regime has been on the move. Tudor Giurgiu’s camera seizes the frenzy of a space where the bullets and the cries hurt the bodies. And suddenly, an abyss. The pool of a swimming pool emptied of its water becomes a prison where police and militiamen are parked before being tried. With a sense of the absurd and the tragic incomparable, Tudor Giurgiu redefines the contours of history on the scale of a frame on a human scale. The empty pool of the sudden pool cleared of its occupants displays its insignificance. (In) humanity is no longer agitated. She left elsewhere. The injuries have remained on the surface.
Thomas Baurez
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First a love
The arrival of the future ★★★ ☆☆
By Cédric Klapisch
From Young perilinspired by its high school years, youth is the engine of Cédric Klapisch’s cinema. And it is still at the heart of this Coming from the futurebuilt as a dialogue between the bets of 1895 and today. Where the investigation carried out by four cousins (including Seb, a young video content director) on the house they have just inherited with several family members leads them in the footsteps of a Norman ancestor rich in mysteries. Adèle who landed in Paris at 20, at the end of the 19th century in a city in the midst of a cultural revolution, of which she will meet some mythical figures. Klapisch does not always avoid the traps linked to the reconstruction of this time but never falls into that of “it was better before”. Because he builds his film on the way Adèle and Seb reclaim their lives, each in their time, ignoring what they are assigned to. In these times when the future scares, Klapisch celebrates the notion of the future by highlighting a band of young irresistible actors whose enthusiasm to direct them for the first time bursts the screen.
Thierry Cheze
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Lilo & Stitch ★★ ☆ From
De Dean Fleischer- Camp
Dean Fleischer Camp (Marcel, the shell) Take care here to preserve the DNA of the cartoon: a childish sweetness mixed with a measured brutality which has rocked several generations. The opportunity to give birth to an intense nostalgia for the spectator while exploring with more depth the Sororal Link, without hesitation to do so to the detriment of the friendship relationship which unites the little Hawaiian and her companion with a lively coat. Despite some lengths, the live-action of Lilo & Stitch accomplishes the feat of preserving the soul of the classic Disney while modernizing it thanks to its contemporary, subtle but impactful accents, scattered throughout the film.
Marie Janeyriat
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The cursed ★★★ ☆☆
By Pedro Martin-Calero
It is a film built like a puzzle that leaves spectators the place to complete the gaps that its director voluntarily left a path. A fantastic film which, in the same logic, prefers to play on the mysterious counter- fields that on the dripping gore of hemoglobin over a story that unfolds between two countries (Spain and Argentina), two eras (today and twenty years earlier) and three heroines. The famous “cursed” of the title victims of the same strange phenomenon: a threatening presence around it, invisible to the naked eye and of which they are the only ones to hear the terrifying cries. The staging of Pedro Martin-Calero swarms to the sound as in the image of a thousand ideas and as many references, of Lost Highway has Tesis by the way The tenant. This abundance assumed sometimes pollutes what this toxic transmission of an ancestral curse intends to symbolize: violence against women who are transmitted from generation to generation without being heard or raw. Without ever damaging the tension that deploys it until its last image.
Thierry Cheze
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Ollie ★★★ ☆☆
Antoine Besse
For Pierre, a 13 -year -old boy, life only slides when he climbs on his skateboard. Once his feet on the ground, everything becomes complicated again: he must manage the mourning of his mother, school harassment, and an undrinkable father. Thanks to an intimate staging, we find ourselves to spy on the older ones at the same time as him until Bertrand, a marginal in Dreadlocks and Pro of the board, makes a smashing entry into our field of vision. The shyness of Kristen Billon then collides with the flamboyance of the unrecognizable Théo Christine, who amazes by the finesse with which he chancelle between casualness and melancholy. Of the meeting between these two lost beings germinates a Coming of Age nostalgic that warms the heart as much as it soothes the mind. Like a sweet reminiscence of this end of pre -adolescence where everything that remained still light is about to be no longer …
Lucie CHIQUE
Find these films near you thanks to First Go
The covers 3 men and a basket, by Coline Serreau
The blood of a poet, by Jean Cocteau
The Orpheus’ will, by Jean Cocteau
