Verdict: it's not a bad stab
Jamie Lee Curtis is back, after too long out of our screens, scaring us of our intelligence with a slightly deranged performance, smiling a minute without sounding, looking for daggers the next, kicking everyone around, talking silly and disoriented. .
Sure, that's his appearance in last week's edition of The Graham Norton Show on BBC1. But what about his turn on Halloween, a sequel (conveniently forgetting all the other sequels over the years) of John Carpenter's classic in 1978?
Curtis, who made his film debut in the original, again plays Laurie Strode, the harassed teenager all those decades ago by masked serial killer Michael Myers
Curtis, who made his feature film debut in the original, again plays Laurie Strode, the teenager harassed decades ago by masked serial killer Michael Myers.
Now she is a lonely grandmother, almost separated from her daughter (Judy Greer) and desperate to start a plan that has spent 40 years refining: kill the dreaded Myers.
She longs for him to escape from her high security psychiatric hospital. And what do you know, one foggy night, while transferring from one complex to another with a group of his fellow prisoners, he agrees.
The film begins, quite effectively, with a pair of persistent UK investigative journalists visiting Myers in captivity.
A doctor obsessed with the most notorious prisoner of the hospital tells them that he has been examined over the years by 50 clinical psychiatrists whose consensus of opinion, you will not be surprised to know, is not that he has anger management problems aggravated by paranoia moderate and an extreme allergy to dairy, but that is "pure evil."
Soon, the eager beaver British are very sorry for their trip, and Myers, in the memorable words of the sheriff in the city of Haddonfield, Illinois, "gets lost with a bunch of nuts, on Halloween night."
A predictable sequence of events occurs, with Myers embarking on a wave of indiscriminate killings, easily facilitated by the fact that he is not the only mask in the city.
Mind you, he seems to draw the line to the babies and the cute chubby kids about his murderous racket, suggesting there is a small drop of compassion in his well of pure evil, or that director David Gordon Green does not want to alienate himself. the audience.
Meanwhile, Laurie's granddaughter, Allyson (Andi Matichak), goes to a Halloween dance with her boyfriend. It ends unhappily, but for romantic rather than psychopathic reasons, and Allyson ends up walking home with only the nerd of class for company through the oddly deserted streets of Haddonfield.
The stage is perfectly prepared for Laurie's worst nightmare: that this "boogey man" will murder Allyson, the only person in her miserable life who seems to understand her.
Most of this is modestly disturbing rather than frightening, but the suspense rises very well in the march towards an excessive outcome.
In addition, Curtis, with a sombre face, does justice to his own illustrious place in the firmament of the film, as not only the star of the 1978 film, but also, of course, the daughter of Janet Leigh, who, like Marion Crane, he came as such. a terrible harvester at the hands of another madman who wielded knives in Hitchcock's masterpiece, Psycho, in 1960.
This is certainly not a masterpiece, but it could be the best of all the repeated stabs when trying to reproduce the fears of the original.
Goosebumps 2: Haunted Halloween (PG)
Verdict: Horror for children.
- Goosebumps 2: Haunted Halloween arrives on a trick or treat night from a different angle; It is effectively a horror movie for young robust, and very well made.
It is the second film based on the books of R. L. Stine, who has been described as Stephen King for those under 15 years of age. The first, in 2016, was really fantastic, with an incredibly crazy performance of Jack Black as Stine himself.
This is not so well designed, but I think it will be scary enough for your young audience.
It is the second film based on the books of R. L. Stine, who has been described as Stephen King for those under 15 years of age.
A pair of enterprising schoolboys, Sonny (Jeremy Ray Taylor) and Sam (Caleel Harris), run a garbage disposal business. In a work they find a ventriloquist doll named Slappy, which turns out to be much less inanimate than they think.
To begin with, Slappy comes to his aid by igniting the school thugs who routinely torment them. But soon, armed with the supernatural ability to give life to other inanimate objects, it is terrorizing the children themselves, Sonny's older sister, Sarah (Madison Iseman), and almost everyone in the city.
Black reappears briefly as Stine, although it is the younger members of the cast who manage the story, and do a decent job. But the first Goosebumps had a slightly malevolent charm that Ari Sandel's film never fully recovers.
This weakling of 7 stones will make you happier than a dog with two tails
Verdict: an Italian gift
If there was ever an antidote to the seductive concept of the dolce vita, it is this brilliant Italian-language film by the successful director Matteo Garrone, set in a desperately crazy city where the rain never seems to stop.
I saw it for the first time at the Cannes Film Festival this year, where, in my opinion, it comfortably deserved (although it did not win) the main prize: the coveted Palme d'Or.
Manicure, ma'am? Marcello (Marcello Fonte) and friend
Garrone's previous film, Tale Of Tales of 2015, was a sumptuous fantasy. Dogman is exactly the opposite, an unadorned drama, about a little man named Marcello, who runs the local dog grooming salon. Marcello is played wonderfully by Marcello Fonte, who won at Cannes, as best actor.
His character is a fundamentally decent man, dedicated to his daughter, but practically the definition of dog hanged and catastrophically in bondage to the thug of the city, a frightful brute named Simoncino.
This tyrant almost destroys Marcello's life, and the narrative revolves around the question of whether the 7th weakling will finally respond.
It's a moving, funny and compelling film, among the best I've seen all year.
Big, silly and a lot of fun.
Killer Hunter (15)
Verdict: pleasantly absurd
Gerard Butler, who somehow seems to be surprised by the squaring of the gang as he ages, plays Joe Glass, a rebel rebel commanding a US submarine. UU Sent to solve an old hoo-hah in Russian waters.
First we find Glass above the surface, as he prepares to shoot an attractive looking deer with a bow and arrow. Is he the killer hunter of the title? No, that is the sub.
In addition, he hesitates, surprised by the majesty of his quarry, and the fact that he (the deer) seems to be a proud husband and father.
Therefore, Glass is established as hard and ruthless enough to go hunting, but also compassionate and decent enough to save the life of an animal. That is the kind of movie it is. A very, very little subtle.
Butler: Maverick with square jaw
It is also a film that features Gary Oldman as a President of the Joint Chiefs of Staff in Washington DC. To be fair, you have many reasons to be irritable.
On the one hand, the Third World War seems to start under the Barents Sea, where someone is firing missiles at both Russian and American submarines. On the other hand, you simply can not control your hair.
No matter how much time he has spent in the Pentagon, barking at varied admirals, he always seems to have just gotten out of bed. The problem that lies at the root of most of this, if not Oldman's wicked wit, is a megalomaniac Russian defense minister (Mikhail Gorevoy), who plans to overthrow his own president (Alexander Diachenko) by destabilizing the Relations between the United States and Russia.
Glass's job is to rescue the Russian president and topple the useless minister of defense to come to the kingdom, none of which is so easy from a submarine. But, comfortably, has the help of a handful of Seals of the Navy, led by a man even jaw more square than him, played by Toby Stephens.
It is a ridiculously absurd material, American jingoism without alpha-male shame (in spite of British leaders) performed with some enthusiasm by director Donovan Marsh.
The script is as ridiculous as the argument: nobody says "let's go" when they can. John Wayne – he just says that & # 39; waddya says let's get out of here & # 39;
But it was done with such a challenging attitude that, despite all my best instincts, I liked it.