Alangkarn Studio

So fully assumed, ‘World Invasion: Battle LA’ answers to the following calculation: ‘Independence Day’ (1996) + ‘Black Hawk Down’ (2001) = muscular and entertainment ever seen. Uninhibited, director Jonathan Liebesman and recycles the alien invasion and brutal Roland Emmerich’s films, like Ridley Scott’s point of view infantry caught in an urban guerrilla. Following a patrol in charge of recovering civilians amid the chaos, the director and trudge into the background of a Los Angeles in ruins and staged his galactic battle like a game immersive. It is literally alongside Marines, watching the alien to each corner. The result is obviously spectacular, but the method has its limitations, especially in terms of plot. While the main character should have brought the story and shaping the story, the drama of the hero at retirement is quickly revealed to be a pretext to enter the fighting. Worse, a beautiful Liebesman characterize soldiers by wearing a mustache or a pair of glasses, the film boils down to a parade of privates going to die soon, and in total anonymity. Even if he fulfills his contract pyrotechnic ‘World Invasion: Battle LA is so far from touching the heartstrings but manly grunt of sleeping in as we had been able to do’ The Black Hawk Down ‘. A bit of flesh (even cannon) would have been welcome.

Two figures emerge from the branches of the Congolese forest. It looks like two men. Or two monkeys. Alain Tixier deliberate confusion of who we are all bonobos! So inevitably, when we witness the kidnapping of little Blessed by the evil “giants” (hunters), we crush his tear. But, phew, the redheaded mop Claudine Andre enters the field. The Diane Fossey of Belgian origin comes to the rescue to collect Blessed in the reserve. A unique place, the paradise of the bonobos, a kind of Club Med 5 Tridents for pygmy chimpanzee … The producer of ‘Wolf’ and ‘Last Trapper’ remains true to his credo: man is sometimes the worst enemy of animals. Manichaeism and his new film is such that it is impossible to deviate from the path where this friend of Nicolas Hulot has decided to take us. Without doubt this is because anthropomorphism is pushed to its climax here that you let soften, lulled by the addition of maternal voice of Sandrine Bonnaire. The laughs are seeing this chapter of Beni, trained monkey for the camera. Tixier follows through the bias of entertainment message. That its producer Jean-Pierre Bailly did not fail to equation: emotion + knowledge + awareness = success. A calculation made by Nicolas Hulot before being struck with the ‘Titanic Syndrome’ …

‘Sucker Punch’ or the story of two be lost in their dreams. The first is the film’s heroine, a young girl named Baby Doll, placed in a psychiatric hospital. The second is the director, a boy called Zack Snyder just fulfill a fantasy that he lugs around since his teens: about to be lobotomized, the heroine reinvents his life in the asylum as a dancer trapped in a sordid tavern. And each issue supposed to prepare her escape, she imagines conduct fighting Dante in fishnet stockings. One could expound at length on the psyche of the esthetic and Snyder. But the director of ’300 ‘(2006) or’ Watchmen ‘(2009), assumes all: the taste of lolitas, addiction porno-chic, fun violence, imaging MS where the woman is by turns victim and executioner etc.. And its deviations have always cherished delusions visual incompatible with political correctness. We expected no less from his movies but a little more sense of the narrative. To orchestrate a dream in the dream, the director of the new Superman (‘Man of Steel’ in 2012) created a universe where nothing is embodied, nothing is true and which alone has a formal omnipotence worthy of a video game, level by level. Soon, the story then turns to the best-of book covers of heroic fantasy. Or adolescent fantasy. In both cases, the audience had long since passed the stage of puberty bored.

Those for which Sweden is the country of kit furniture, big blondes and Bjorn Borg will quickly become disillusioned before ‘Easy Money’. By adapting the best-selling Jens Lapidus, Daniel Espinosa Stockholm film where the black and white rule turns heads. Starting with the JW, a young student in business school, gifted but broke, desperate to have the same lifestyle as his comrades and exist in the eyes of the woman he loves. Thus we follow his ascension, a taxi driver to his clandestine role as financial advisor to the underworld. Sharing their desires, their fears, doubts and failures. The charisma and talent of Joel Kinnaman, rising star of Swedish cinema, makes the character endearing. And implementation of muscular strengthening Espinosa immersion. But the viewfinder should remain pointed at JW For what gives the novel its power, ie different levels stories mingled with each other, is the weakness of the film. Where the book could take the time to give flesh and soul to each protagonist, the movie can only draw silhouettes: Mrado, the hitman who wants to arrange for his daughter, Jorge, archetypal small dealer who wants It would be great … preferred to follow from beginning to end the fate of JW, a young provincial who improvised gangster. Fortunately, we should find it in the next two parts of the trilogy. Reason enough to be tempted by this easy money.

How the novel by Madame de La Fayette can resonate with teenage Marseille preparing the tray in 2010? This is the question that attempts to answer the director Regis Sauder, questioning them and their parents or their teachers, and watching them live. No offense to the President, author of a remarkable output on the futility of reading this book dusty, it seems that young people have much to learn and take in a story which they identify with no difficulty. Recently, Bertrand Tavernier, in ‘La Princesse de Montpensier’, has revealed he could be any current in the literature about the transition to adulthood, the empowerment of women, desire and repression. It turns out that young players do not just dream about the romantic impulses of a history of gallantry, even if a high school is nicknamed “my princess of Cleves” by her boyfriend, and she said, surrounded by “full small Nemours. What passes as well, so the underlying is the pride of ownership to a cultural heritage, especially for some young people from immigrant backgrounds. Uncertainties in love, communication with parents, the crystallization of BA, the hope of social change: on all these subjects, they speak on camera with astonishing frankness. But the best moments are when they interpret the text of the book, displaying an ease and sincerity that give reason to the title of this remarkable documentary.

A contract killer sees a price on his head by his employer. Rather annoyed by the situation, he was forced to kill all the baddies who want her skin. Déjà vu? We can not say how many times. Nothing could be more natural here though, ‘shooter’ is the remake of another film of the same title released in 1972. In this 2011 version, Jason Statham, BSc become an expert without any real action movie scenario (‘The Expander’, ‘Rogue’, ‘The Transporter 1,2 and 3′, etc..) Reprises the role required at the time by Charles Bronson, a former expert Sc action movie with no real scenario (‘A Death Wish’ and 4 suites). Other words, a perfect cast. If we have seen repeatedly that Statham, in good British, is quite capable of handling the second degree and self-mockery (‘Snatch’, ‘hypertension’), the actor plays the monoliths of service, just sketching a half smile in 1:30. Perfect in his role as ruthless, he nevertheless finds himself helpless against the poverty of his script. A time when well-trained killer accepts without flinching eliminate his mentor (Donald Sutherland), we imagine (hope) that this story will finally take the relief. Missed, the sequence of action scenes consistently pursued. To you gun down a movie.

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