Hollywood remakes’ tendency to fail at the box office seems to indicate that something has been lost in translation, but this muddling extends to successes as well: Even hits like Three Men and a Baby deviated from their source material in ways that make them much less interesting. I'm not mean and horrible in anyway. And one has never listened to Aretha Franklin or smoked kush!) But shouldn’t it be the same in America, where people also have families, jobs, and affairs? But regardless, this is a movie that deserves to sink on its own without bad press or parallel can’t-we-just-get-along pablum in theaters. (Let’s establish this very important fact, schmucks: The only acceptable translation of Le Dîner de Cons is “Dinner for Morons.”) Why does Gene Wilder’s relentless pursuit of the bikini-clad woman of his dreams in The Woman in Red feel so creepy, when Jean Rochefort’s was irresistibly funny? It’s a mediocrity no matter when you release it. Someone who’s gamely going up against Bryan Cranston, still acting up a storm even without 3/4ths of his body at his disposal. Here’s another.) fcc-fac.ca Dans ce contexte, il indique qu'il sera essentiel po ur … © Copyright 2020 Rolling Stone, LLC, a subsidiary of Penske Business Media, LLC. 1? Situations escalate but remain realistic: Étienne (Jean Rochefort), the hero of Un Éléphant, recounts his adventure from the outside of the top window of a Parisian hotel, where he is standing in a bathrobe while firemen are downstairs, ready to rescue someone who they think is suicidal—pretty much a perfect “record scratch” moment. This same dynamic extends in the other direction as well: American comedy stars work harder to be ridiculous. Demonstrates the comedy as a cure.

Reviewed in the United Kingdom on May 30, 2020. Is It Ever a Good Idea to Remake Hitchcock? By choosing I Accept, you consent to our use of cookies and other tracking technologies. Often taking place in bourgeois apartments and corporate offices, these films touch on universal themes of love, family, tolerance, infidelity, and ambition, deriving their comedy from the snowball effects of human mistakes and bad luck. This was a perfect balance between comedy and drama, so we laughed and were entertained, and yet there was a moving story behind the humor.

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Kevin was hilarious as ever. In both his stage routines and his usual (co-)starring vehicles, Hart has refined a persona that’s one part self-owning schlub, one part manic Id bursts, all parts dynamic stuck-in-fourth-gear forward momentum.

But you always got the feeling that the man wanted to see where else his talent could take him. The perilousness of race and class relations also makes the ironic approach of 1980s French comedies obsolete: As the latest rise of ridiculous fascists across the world has made clear, making fun of racists isn’t going to stop them. In This Article: (Here’s an example. When they do speak about women, it’s with kindness.

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Qu’est Ce Qu’on a Fait was poorly received in almost every foreign country (notable exceptions are Germany and Spain), while Les Tuche barely traveled. Minnesota faces a dilemma with the top pick, but it’s a good one. Please also read our Privacy Notice and Terms of Use, which became effective December 20, 2019. It’s the sort of middlebrow foreign-language film that seems exotic and highbrow only because it has subtitles; the fact that the actors are speaking French throws you off, since you’d swear you were already watching the comedy’s own American remake. So was a refreshing relief to watch a very well scripted funny in parts film.

(The Trouble With You) last year followed a widowed detective falling in love with the man that her dead corrupt husband had put behind bars, leveraging gunplay against feminist subtext. America, on the other hand, may be prudish, but is also generally more responsible with the way its cinema explores racism, an issue that is literally at this country’s foundation. Reviewed in the United States on May 21, 2019.

He left me with the impression of “defending his acting”, not at all necessary, and certainly not Appearing to be generous towards his co-actors.

They twist their relatable elements for aspirational purposes: You too could be a sexy, middle-aged, liberal, and affectionate father, like Michael Keaton’s Mr. This pattern of French smashes being remade in Hollywood is nothing new: Before Intouchables and The Upside, there was the pair of Trois Hommes et un Couffin and Three Men and a Baby, which became the highest grossing film of 1987 in America. I thought this was a good story very well told. Prime members enjoy FREE Delivery and exclusive access to music, movies, TV shows, original audio series, and Kindle books. Uplifting. A really feel good movie, n highly recommend. Instead, our system considers things like how recent a review is and if the reviewer bought the item on Amazon. The dessert kingdom, television’s delectable oasis, must be saved. There’s little else to say about either other than acknowledging their part in the proceedings.).

But these issues are more specific than those of masculinity, faithfulness, or friendship—and much more delicate to address for a country that still finds it difficult to admit to its well-known oppression of ex-colonies, and for a film industry that welcomed the #MeToo movement with shockingly backward ideas regarding sexual harassment. (Another truth: The double entendre of Un Éléphant Ça Trompe Énormément, where “trompe” means both “to cheat” and “trunk,” is sadly untranslatable.) This one was fun, as well - the social issues were American as the social issues in the French film were... well, French. I laughed a lot at the interactions Dell Scott (Kevin Hart) had with all the staff and for Phillip Lacosse (Bryan Cranston) and there was a real sweetness to this movie, also. That’s the comic money shot, the one that he’s made him a gajillion dollars opposite Ice Cube, The Rock, Will Ferrell, Tiffany Haddish.

There’s nothing in Nimoy’s film to equal the moment when Jacques, in a drunken stupor, turns existential and asks his friends, intensely: “Why am I alive?” The implication isn’t that men should live for child-rearing, but rather that Jacques previously had so little sense of responsibility and of his own mortality that taking care of a child for a few months has fully rerouted his understanding of himself. Un Éléphant and Trois Hommes satirize male foibles and weakness—Rochefort learns nothing from the fall he takes at the end of the movie, scanning the crowd below the ledge for possible lovers—but the American films embrace prudishness and reassurance.

My hopes were that this movie was what I was expecting...I was expecting funny, emotional, hilarious...you get the idea. ', In one of those odd coincidences of timing, we’re getting The Upside, a buddy dramedy that the stand-up comedian/mega-movie star/tireless showbiz workhorse Kevin Hart signed up for a little over four years ago; shot two years ago; saw premiere in Toronto in September of 2017; watched get shelved indefinitely as collateral damage in the Harvey Weinstein sexual-harassment scandal; and sat back as this cinematic orphan was released, dead-of-January-style, right on the heels of his Oscar-host controversy. Justine Triet’s Victoria (2016) provided an almost too real story of unlikely romance; and Gustave Kervern and Benoît Delépine’s 2018 socialist manifesto I Feel Good (the title is in English originally) starred Jean Dujardin as a Trumpian loser humbled by his absurd attempt to provide cheap plastic surgery to the volunteers of a nonprofit organization.