Kaamelott, Bonne Mere, Old: What’s new at the movies this week – Buzz News

Kaamelott, Bonne Mere, Old: What’s new at the movies this week

The essential

Is the long-awaited sequel to Kaamelott in the cinema only for fans of the legendary series by Alexandre Astier?

Twelve years after the last episode of Book VI of Kaamelott on TV, here is finally the return of the king. But if  Kaamelott, first part  is sometimes very funny thanks to his gang of actresses and perfect actors, Astier struggles to fulfill the promise of epic cinema that he promised through the change of scale, from small to large. screen. It’s a shame, but that does not mean that we do not look forward to the rest.



By Hafsia Herzi

Hafsia Herzi- director goes up a notch from a screenplay more square than You deserve a love but always crossed by what makes her strength: her ability to let life invade the screen as if her camera did not exist for its actors (all insane). Of noise, fury, giggles and sweetness. This is how to describe the cinema of Hafsia Herzi, which stands out as a full-fledged author in just two films. “As long as I’m standing, I’ll stay strong,” says her heroine. A word that takes on its full meaning to define this mother of a large family from the northern districts of Marseille, a cleaning lady who watches like a wolf over a tribe rich in sharp personalities and temporarily amputated by a son in prison. Good motheris the portrait of this resistant who bends but does not break. The look that Hafsia Herzi casts on her is overwhelming with humanity but devoid of angelism. His film is bubbling but never agitated in vain. Roll on the third!

By Arthur Harari

In 2016, Arthur Harari signed with Black Diamonda thriller set in the middle of the diamond dealers in Antwerp. The filmmaker goes further here. In this case, on a Pacific island in 1944, tracing the thread of an extraordinary adventure, until 1974. Thirty years of the life in parentheses of Hiro Onoda, Japanese soldier stationed in Lubang in the Philippines who refused to accept the end of World War II and the surrender of his country. Harari’s film, dry and distanced, watches his anti-hero cling to his own reality through a story that will gradually shed any narrative ornament to live this abnegation in the present. Its precise staging, cut with care, manages to play with the mystery of an unfathomable being but whose stubbornness, however absurd it may be, has everything of a sacrificial quest. Onodais a survival and adventure film, also Japanese in the purity it exudes. A film by Arthur Harari above all, in which we find this formidable ability to become one with his character.

ON BOARD ★★★★ ☆

By Guillaume Brac

At the boarding (which comes out on the big screen after its broadcast on Arte) immediately seduced by its freshness. No name droppinghere, only new faces (all from the Conservatory). In an ultra-mapped French cinema, virgin lands are too few. This “boarding” is therefore first of all, the conquest of a space where objects, things and bodies reveal something new from which inevitably emanates a savage purity. Felix, the protagonist only thirsts for meetings. It is a body in motion, intrepid. Brac is not Kechiche. He does not seek to probe until exhaustion the fever which governs the bodies between them. He intervenes very little. However, they have in common this way of questioning society through a social melting pot that hollow out the face of a France still trapped by its prejudices. Individuals that almost nothing predestined to meet, find a point of attachment without having to report to anyone. Especially not to the film itself, delimited by borders that the filmmakers wanted to be permeable. And we enjoy taking the plunge with his characters.


OLD ★★★ ☆☆

By M Night Shyamalan

Old borrows its subject from a comic strip, Sand Castle by Frederik Peeters and Pierre Oscar Levy: on an exotic beach, vacationers who meet by chance for an excursion start to age at an accelerated rate. Half an hour is worth a year. Why how ? In fact, the reason (because there is one, and it will be explained in the last fifteen minutes moreover not terrible) is not at all the subject of the film. What interests Shyamalan, obviously, is to orchestrate this little temporal chaos with a slightly vicious gluttony, rather than to set up the twist mechanism that would be his trademark.

Pushing the film into its usual fantastic territory, on the twilight border where normal and abnormal overlap, Old is a twisted B series where the filmmaker manages to slip his obsessions: watch out for appearances of the color purple, and also of the filmmaker him – even, in the frame, for example. And some passages, thanks to the couple formed by the excellent Gael García Bernal and Vicky Krieps, arouse emotion when you least expect it, in the middle of these sets of supported frames (a lot of primers and backgrounds), manipulative tracking shots. Without too much spoiler – you’ll understand when you see him – Old becomes very funny when you consider him as a kissing reflection of The Water Girl, where the filmmaker puts himself on the scene just as much, but not as a cursed author misunderstood by critics but as himself: a director definitely smarter than the others.


By Alexandre Rockwell

We discovered Alexandre Rockwell and his taste for wobbly characters in 1992 thanks to In the soup with the late Seymour Cassel. In the process, there was Somebody to love , a sketch by Groom Service , Louis & Frank and then… more news from this side of the Atlantic where none of his following films were distributed. We therefore welcome Sweet Thing as the return of a filmmaker who never really lived up to the hopes placed in him. And this reunion is not lacking in brilliance. Eight years after filming her child daughter and son in Little feetRockwell finds them as teenagers in this black-and-white portrait of a dysfunctional family in Massachusetts. Seen through the prism of this duo who will try to build themselves – with the help of another young boy in search of freedom – between a loving father but alcoholic (Will Patton, already present in In the soup ), a mother now sharing the life of a violent man with the instincts of a sexual predator and the galley of poverty on a daily basis. The subject is not of a stunning originality but it is the empathetic way in which Rockwell seizes it that hits the mark. His rejection of all miserability, his faith in a happy ending despite all obstacles, which he manages to make us believe. Sweet thinglooks like a first film by its adolescent ardor. The one that makes it seem like we are telling stories for the first time that so many others have dealt with. And this charm, coupled with a soundtrack where Van Morrison rubs shoulders with Billie Holiday and Arvo Pärt and the insane charisma of Lana Rockwell are enough for our happiness.

Thierry cheze



By Navot Papushado

Little Sam was 8 years old when her mother Scarlet, a contract killer, was forced to abandon her to protect her. Following in his footsteps, she herself will become an expert in this field until she finds herself faced with a dilemma: to remain loyal to her employer, La Firme, or to save the life of a… little girl of 8 years old. . Her choice to favor the second option will then lead her on a run where she will see her mother resurface and receive the help of her former associates to make it out alive. This supercharged pop B series fully assumes its Tarantinesque influences and multiplies action scenes packed with inventiveness and explosiveness played with contagious pleasure by Karen Gillan ( Jumanji: Welcome to the Jungle ), Lena Headey (Cersei Lannister from Game Of Thrones) and the explosive trio Angela Bassett- Michelle Yeoh- Carla Gugino. Everything goes wrong on the other hand when the guns are silent to make room for dialogue and more generally for a scenario much less worked than the choreographies of the aforementioned scenes. The two hours of the story therefore suffer from regular air holes which do not however completely spoil the pleasure taken in front of the exploits of these competitive badass.

Thierry cheze


By Juan José Campanella

It’s been 12 years and his foreign film Oscar for In his eyes that we were without news of Juan José Campanella who has since worked mainly as a series director. His return was made under the double influence of Boulevard du Crépuscule and Arsenic and Old Dentellesthrough the story of four friends (a former movie star, her husband, a director and a screenwriter) living in the same big house that a young unscrupulous couple will try by all means to recover. Campanella adores her characters, old scoundrels with a cheerful bad background … But alas a little too much as the time for presenting them and setting up her story seems endless and harms the comic power of this deliciously amoral black farce that unfolds in his home straight. With half an hour less, we had a great movie.

LOUXOR ★★ ☆☆☆

By Zeina Durra

Luxor is a film that is not easily given. A portrait of a woman in a puzzle style in which we will discover in the end that a lot of pieces were deliberately hidden. Her heroine is called Hana. British doctor, she works in humanitarian aid, arrives alone in Luxor, a city that she seems to know like the back of her hand but in which she wanders as if to rebuild herself and where she will meet a man she loved. His past ? What haunts her? What is mine? We’ll never really know. The powerful interiority of its performer, the always impeccable Andrea Riseborough, participates in this intriguing mystery that we would however have liked less opaque or conversely even more radically abstruse to be fully seduced. Longitudinally, Luxor struggles to choose sides and leaves a taste of unfinished business.

Thierry cheze



By Malcolm D. Lee

In this film written by no less than eight authors (including Ryan Coogler!) And whose planned director was landed in the middle of filming, LeBron James and his son find themselves, during a visit to the Warner studios, trapped in a parallel dimension where the entire studio universe is controlled by malicious artificial intelligence. To find his son and get out of this trap, the NBA star will have to win a basketball game against the team of this artificial intelligent with the help of the band of Looney Tunes, Bugs Bunnny and others. We remember that the original Space Jam was designed under the influence of Roger Rabbitand played deliciously with the universe of Looney Tunes. With its sequel, it is above all a question of show of force side special effects in a scenario reduced to the minimum portion, against the backdrop of soothing discourse on the family. Second degree and mischief are absent from Space Jam – a new era which forgets to really play with the universe of Looney Tunes and leads Don Cheadle – as a super-villain on duty – in an XXL heckling act that poses him as a formidable candidate for Razzie Awards 2022.


By Darren Lynn Bousman

Several months ago, fans of the torture porn franchise imagined by James Wan and Leigh Whannell were a little surprised when they found out that Chris Rock was going to develop a spin-off of the series. For years, Saw seemed at bay, and a comic taking up the torch was not necessarily made to reassure. At the same time, what defines the series better than the plot-twists?

First good news: veteran Darren Lynn Bouseman is in charge. He no longer has to prove his “know-how” in the field of hardcore horror, even if he has been known to be more inspired. Then the cast: in addition to Chris Rock, we find Sam Jackson and Max Minghella on the bill. And as if to show that we are here in another universe, from the start you will not see Billy the puppet and you will not hear Kramer’s voice… Instead a pig mask uses a modulated voice to explain The game’s rules.

But apart from these ultimately minor changes, a few real changes are game-changing. Here the murders and torture sessions, always so impressive (or disgusting, as you wish), matter less than the investigation carried out by the cop played by Chris Rock. Following the progress of Inspector Zeke Banks on the hunt for a new serial killer to take on cops, Spiral actually looks like a hardcore episode of CSI Miami rather than a new Saw movie.. Sensitive souls will be (a little) reassured, but fans of gore might be disappointed. Stranger: some appearances by Chris Rock. While we discover in the preamble a “beautiful” tongue-tearing scene, just after, the film offers a few minutes of Chris Rock pulling out his woke jokes to his colleagues. It is this constant mixture of genres that ultimately serves the whole. There are quite a few fun gore devices, but moving away from the DNA of the series, Spiral is not the expected new chapter. More like a footnote.

Pierre Lunn

DIGGER ★ ☆☆☆☆

By Georgis Grigorakis

Nikita lives alone in the heart of the forest, fighting as best he can against the mining companies which, day after day gaining ground, are preparing to make short work of him. The troubles usually flying in a squadron, he also sees his son disembark who, after 20 years of absence, comes to claim his share of the land that his deceased mother gave him as an inheritance. The promise of a clash of generations, like a western duel in the heart of lush nature. But a broken promise. Georgis Grigorakis has a real talent for turning this forest, which has gradually been reworked in its luxuriance, a character in its own right. But he forgets to dig into the other two, this father and this son, whose development, once the foundations have been laid, are sorely lacking in twists and turns.

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