Mrs. Géquil is a teacher despised by her colleagues and students. On a stormy night, she is struck by lightning and faints. When she wakes up, she feels different. Will she be able to keep the powerful and dangerous Mrs. Hyde contained?
Luc Bondy's final feature film as director draws talent from both stage and screen to bring Pierre de Marivaux's 1737 play into 21st century Paris. Isabelle Huppert commands the screen as ... See full summary »
Agathe lives with her husband and son in a posh apartment in front of the Jardin du Luxembourg. Patrick lives with his son in the back of a van. She is the head of an important contemporary... See full summary »
Isabelle and Gérard go to a strange appointment in Death Valley, California. They have not seen each other for years and are here to answer to an invitation from their son Michael, a ... See full summary »
In France in the darkest days of the Great War Camille receives an alarming letter from her soldier boyfriend. Disguising herself as a man she sets off to try and find him. As she lives ... See full summary »
Brigitte and Xavier are a couple of cattle farmers living and working together in Normandy. They have always got on well but now that their two children have left the household, routine and... See full summary »
After ten years abroad, Catherine returns to Luxembourg to catch up with her daughter Alba, brought up by Catherine's mother Elisabeth. She then kidnaps Alba and takes her on a trip to a lake up North.
Farid, an Algerian turned informant for the French police, is found murdered in a small French town. Two offbeat and unethical female investigators (a fercely authoritarian Isabelle Huppert paired with an inquisitive and voyeuristic Sandrine Kimberlain) are brought in to investigate the possibility of police involvement with the murder. Meanwhile the seemingly degenerate cop with a heart of gold, Mendes, acquires an eager, albeit naive Algerian informant, Younes, who quickly gets into trouble. Serge Bozon's TIP TOP is a sharp and witty absurdist political farce that will leave audiences with more questions about modern day France than answers.
Yes, Steve Martin is correct, and especially so when the folks try way too hard. Sure it is appealing, on paper at least, to watch such talented actresses as Huppert and Kiberlain do physical comedy shtick and exaggerated takes, but this sloppy mixture of police procedural, slapstick and social "awareness" (with its heavy emphasis on the always timely France/Algeria connection theme and ethnic diaspora in France) is awful.
Main subtext for laughs is exploiting the funny aspect of kinky sex, which director Serge Bozon uses as a crutch for laughs much the same way a desperate (though immensely more successful) auteur like Mel Brooks resorts to fart jokes and other bathroom humor in a pinch. The sight gag of Isabelle Huppert loving the blood dripping from her injured nose on onto her tongue is milked (it would have been funny if just done once) and the whole BDSM material is thoroughly incompetent. I would have been amused had the great Bulle Ogier, who in the golden age of the '70s competed with Huppert for juicy screen roles, been cast instead, given her landmark work in Barbet Schroeder's "Maitresse".
So I write this loser off as merely a Gallic entry in the burgeoning genre I call the Cinema of Facetiousness - a tongue-in-cheek approach to the medium that has given us thousands of terrible films by untalented (though lauded, don't ask me why) practitioners ranging from Tarantino to the Coens. My theory is that the distancing effect of making fun of everything, including one's own work, is a crutch that incompetents rely upon to shield themselves from criticism -you know, "I was only kidding" as the constant copout. So Quentin and his legion of idiots will never be taken seriously or suffer the serious analysis & critique afforded the Cinema giants on the order of Renoir, Clair, Bergman, Antonioni, Satyajit Ray and Mizoguchi.
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