This congenial French blockbuster has finally hit our shores. This film is huge in Europe, and it's no wonder why.
Based on a true story, a Senegalese immigrant (Sy) shows up at the home of a rich Parisian (Cluzet). Ex-con Sy is supposed to apply for a job, but mainly, he wants a paper signed so he can continue getting unemployment. Cluzet is quadriplegic, and he needs a 24/7 caretaker tending to his needs. Something in the rough ex-prisoner inspires the depressed Cluzet, and he hires Sy.
There is nary a bad performance in this film. Cluzet is quiet, forlorn, and even suicidal. Sy is delightfully reckless and stupid. It's an Odd Couple relationship with some real heart. Cluzet gives Sy an accidental education, taking him to art galleries and the opera. Sy provides Cluzet life in all its messy, inappropriate, imperfect gloryâ┚¬â€Âracing the rich man around in his expensive cars, teasing the quadriplegic, making fun of Cluzet's affluence.
So, Miss Daisy, we'll try to shake off our hackles about another film where a black servant rescues the rich white person. We'll try to ignore the overtly sugary moments, waiting for the next bon mot of meanness that childish Sy can heap on helpless Cluzet (who secretly delights at Sy's immaturity). We'll also forgive a film without strong arc or drive.We will sit still and enjoy this international crowd-pleaser, because, in spite of its flaws, it's a lovely film.
Ridley Scott is a very gifted directorâ┚¬â€Âjust look at Alien, Thelma and Louise, and Gladiator. However, after being away from science fiction for years, Scott offers way too many cool ideas to make a single coherent film.
Prometheusâ┚¬â€Âa somewhat a precursor to Alienâ┚¬â€Âis nifty to look at. However, the half-developed ideas and the relentless and often nonsensical action overwhelms. It's a shocking, stunning hodgepodge.
Rapace and Marshall-Green are future scientists who've found proof that Earth was visited by aliens. These aliens possibly even helped form the human race. A crusty old billionaire (Pierce) sends the scientists to a distant galaxy to find our â┚¬Å”gods,â┚¬Â our â┚¬Å”engineers.â┚¬Â Along for the ride are captain Theron and android Fassbender, who has a hidden agenda.
Prometheus possesses a whole world of nascent, messy musings. Questions about religion and genetics are touched upon but never finished. More frustrating, these scientists are unbelievably reckless and sloppyâ┚¬â€Âcharging into the breach without a single thought to method, effect, or careful documentation. Character traits are left stillborn.
Some of this is awe-inspiring; Scott fills each corner with eye-popping visuals and action. However, if Scott is the god of this realm, maybe he needed another parental figure who said â┚¬Å”enough alreadyâ┚¬Â and â┚¬Å”focus.â┚¬ÂÂ
The aliens are back trying to destroy Earth, so let's call the Men in Black.
This third film might be as good as the first. What works here? Besides the new creatures and machinery, director Barry Sonnenfeld knows when to stop all the silly, overblown action for a quiet moment of character development.
J (Smith) and K (Jones) are still super-agents protecting the world from extraterrestrials. However, when a nefarious beast (Clement) escapes his moon prison, he decides to go back in time to the day Jones captured himâ┚¬â€Âat the moon launch in 1969â┚¬â€Âand kill the agent. Smith has to go back to rescue his partner and save the planet.
This isn't deep stuff, though we finally find why the taciturn Jones is the way he is. Brolin portrays the younger Jones in a perfect deadpan impersonation. Thompson plays a love interest and new head of the MIB agency. As the villain, Clement is actually worth some fear.
Sonnenfeld tries to make this a smidge more meaningful. It's nice to see the quieter moments in amidst the massive destruction. Time travel films are tricky, and this one mostly works. But let's be honest; we came to see the comic cataclysms that Sonnenfeld definitely delivers.