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The Front Runner, A golden youth, Glass… The movies to see or avoid this week


The Front Runner , a drama from Jason Reitman, 1h54

The true story of the senator from Colorado Gary Hart (Hugh Jackman), the candidate in mind during the primaries of the democratic Party in 1987. It is widely favorite for the presidential election in the face of the republican George Bush, then vice-president, Ronald Reagan. He is going to lose everything in three weeks because of a woman. Women, rather.

With The Front Runner , Jason Reitman perpetuates the know-how of the american cinema as soon as it is put in scene politics and the press. Everything sounds true and right in their description of the descent to hell of Gary Hart. In hollow, the film disseminates the idea of a horrible mess. If Hart had been elected, not Bush, not Bush the son, not to the war in Iraq.

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The Incredible Story of the postman Cheval , a drama of Nils Tavernier, 1 hour and 45 minutes.

Joseph Ferdinand Cheval (Jacques Gamblin) makes long trips alone in the beautiful landscapes of the Drôme. It is a factor. We are at the end of the Nineteenth century. It is mutique. A beautiful peasant girl (Laeticia Casta) the note and goes up to the love. They have a daughter, Alice. For her, the postman Cheval began to build a ideal palace (classified in 1969 by André Malraux).

The film follows the thread of a country life, simple, responsible work and love, with its daily actions and its pain buried. Director Nils Tavernier stands with an extraordinary accuracy the exact point of encounter between the world of appearances and the depth of all beings. His staging is clear, captures, on one hand, the concrete existence, and on the other, the unfathomable mystery of creation.

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Glass , fantasy movie from M. Night Shyamalan, 2h09

Glass signals the end of a trilogy started twenty years ago with Incomparable and continued in 2017 with Split . David Dunn, aka The Supervisor, played by a Bruce Willis even more dismal than in the first game, facing The Beast (James McAvoy), seen in the second. The two oddballs find themselves in a psychiatric hospital where they join another mythomaniac is already interned, Elijah Price (Samuel L. Jackson), the less lobotomisé it in the air. To be treated for megalomania: they take themselves to be super-heroes.

M. Night Shyamalan: “Glass is a film that is introspective and ironic” – to Look on Figaro Live

M. Night Shyamalan is one of the only filmmakers capable of making them stand scenarios as complex. He completed here his replay of the mythology of super-heroes. Men who seek their place in the world and a meaning to their life. When the metaphysical is a superpower.

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Double lives , a comedy of Olivier Assayas, 1h48

Alain (Guillaume Canet) is a publisher into it. Leonard (Vincent Macaigne), a writer depressed. This one publishes in this one. Until the day of the rupture, when Alain refuses his next book. The tension is rising. They both have trouble hearing the desire of their wife. The couples know each other. The problems begin.

The film, are oddly few literary, alternating with a vivacity nonchalant dinner in town, discussions on the future of the paper, comments on the politics, mini-scenes housekeeping. Olivier Assayas describes the marathon, which are subjected the men of letters, and this merciless universe of Saint-Germain-des-Prés. The tone is just perky, with a dose of gravity: a film of paris, in the best sense of the term.

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Ben is Back , a drama by Peter Hedges, 1h44

on The eve of Christmas, Holly Burns (Julia Roberts) sees his dream come true. Her son Ben (Lucas Hedges) has left his rehab to spend the holidays with them. The return of the prodigal son is welcomed with hostility by her sister and her father-in-law. For them, Ben can only back to it. Holly can’t trust him no more.

Peter Hedges, novelist, became a filmmaker, book the story under tension by a descent to the underworld. Julia Roberts gives a performance burning and remind us of how much she is a great actress. Lucas Hegdes, the son of the director, Oscar-nominated in 2016 to 20 years, unleashes the extent of his talent. And proves that the new generation of Hollywood is well in place.

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Colette , a biopic of Wash Westmoreland, 1h52

The young Gabrielle Colette (Keira Knightley) will leave its Burgundy birthplace, and his life of wildvine lover of nature and animals, to marry the dashing Henry Gauthier-Villars (Dominic West). Soon, he switches the low blows and gifts. And, after having discovered the talent of his wife begins to exploit without scruple. On his side, Colette discovers his taste for women.

Colette has no other ambition than to illustrate that clearance of the conventions at the heart of a universe of bourgeois. Sets and costumes are a delight to the eye. The pace is fast, the plans are orchestrated. In short, the biopic of Wash Westmoreland Colette responds perfectly to its sub-title: a modern woman.

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Ayka , a drama of Sergey Dvortsevoy, 1h40

At the 71st Festival de Cannes, the ordeal of this young immigrant from kyrgyzstan in Russia, without employment, undocumented and pursued by the mafia has drawn tears to festival-goers. Not to us. In the skin of this Fantine, Samal Yeslyamova won the prize for female interpretation.

the young d edge , the Drama of Eva Ionesco, 1h52

The film director Eva Ionesco looks back on his years Palace, wants to give his Last days of disco . Two young misfits come out every night, fall on a couple of rich socialites. They get bored, a feeling that is soon to be communicative. Isabelle Huppert made her scatter-brained. The film is sincere, clumsy, not very well played. The shadow of Cocteau flat on children is not terrible. Idleness is perhaps not a show. Passing behind the camera, the filmmaker has remained faithful to his teenage years: she continues to not do much of anything.

Holy Lands , the drama of Amanda Sthers, 1h40

Amanda Sthers adapts his own novel. James Caan, jewish apostate, has left New York for raising pigs in Nazareth. His ex-wife is sick with cancer, his son is gay and he empathizes with a rabbi. Israel, the land of clichés.

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