Dany Boon’s Cool Bee Review

SWEET BUTTER EYE

well, if you have seen Miss Daisy and her chauffeur, untouchables and other marshmallows in the style of Green Book: Along the paths of the SouthYou’ve probably already figured out at least 75% of the movie. Obviously, nothing more than the synopsis and the poster of the film, the intrigue is covered in advance. Two strangers, two anonymous and yet, as Renaud would say: they don’t know each other, but while one takes the other on their last journey, they will meet and appreciate each other beyond their differences as Johnny would say. Except that Christian Carion, usually characterless movie prince, short-circuits this antediluvian contraption, with a certain finesse in the turns.

A Great Race: Photo, Dany Boon, Line RenaudWe’re going for a walk

First, because Dany Boon and Line Renaud embody less the famous duo of characters that everything opposes than two individuals who, in reality, should have crossed paths much earlier, so much so that they have things to say. Of course, the beginnings are difficult due to the -obviously- abrupt character of Charles, the poor taxi driver played by our national ch’ti. The latter also demonstrates his talent as an actor and effortlessly convinces in this not-so-fun role., which will not be the case for everyone here. We would like to give a name, but it seems that attacking the elders is wrong and plays into the hands of the extreme right.

Charles and Madeleine are in fact two similar souls who intersect, while the second will not remain long in this world, while the first is exhausted from going around in circles, a prisoner of his social status and for whom happiness has turned into an abstract idea. , a feeling so forgotten that the memory of the first real kiss, “the one that matters”, has disappeared. Happiness, they have to bring each other, but not so much because of a form of complementarity embedded in the difference (that endless preaching and preaching) as because of their almost immediate similarity. Forty-six years apart, “but for eons, France hasn’t changed that much,” as Renaud would put it (again), so ultimately nothing separates them.

A Great Race: Photo, Dany Boon, Line RenaudOne more reference to Renaud and I’ll leave you alone on line 13

BLACK EYE

In hollow, it is even the greatest merit ofa great race : as Madeleine evokes her past to this stranger who leads him to the waiting EHPAD – literally her last home, before all the macabre implications of this – we realize that it is a false nostalgia that inhabits the work. Madeleine regrets the years of her youth more than the 50s, who incidentally stole much of his youth because of his sexist morals. And even violently sexist.

a great race hides, in fact, an unsuspected blackness, and above all particularly amazing, scenes of rape and genital torture with a blowtorch (we thought we were in the wrong room, too) are traditionally more the hallmark of Azeri war snuff film than syrupy French melodrama. A guaranteed departure from the road in the hands of a filmmaker less gifted than Christian Carion, of whom it should be remembered that despite the usual thickness of his stories, he is still a competent assembler of images. Therefore, we are surprised here and there by feeling a real fear of panic, which we would rather expect from a horror movie. And, above all, a real annoyance for the powerful description that the menu makes of domestic abuse.

A great race: photo, Dany BoonThe scenes of what

Christian Carion inflicts them on us with the palm of his hand like the sprains received by Madeleine, and his piercing tinnitus resonates very cruelly with the pathetic political news of his last days, which is particularly disgusting. Abuses whose crudeness is all the more overwhelming as these scenes fit insidiously within the framework of a story that pretends to be kind and harmless., but that shows us an obscene and not even distorting mirror. We detect the hateful that lurks behind the pleasant faces, in this case the naturally brimming with resilience of the excellent Alice Isaaz, but also behind the angelic face of Jérémie Laheurte, perfectly hideous as an ephebe-like monster.

A great race: photo, Line RenaudAnother expressive face, not knowing how to say its text

BUTTER EYE WHITE

Surprisingly healthy way out of the way, even a flash of genius. Unfortunately, it’s just a flash, and the natural quickly returns at a gallop. Even at a hundred times at a gallop, since Dany Boon starts the horses of her taxi engine, our story, which had skidded so suddenly and beautifully, slowly returns to the path of its own, and it is so wide, marked and congested than the Parisian bus lanes traversed by Charles and Madeleine. The arrogance of the subject collides with the laziness of the past-present of ping-pong and, despite great resistance, said subject soon finds himself trapped in sticky pathos, anesthetized by a feel-good structure seen 1000 times elsewhere until an archacordate ending. .

It was said, a great race hides a certain delicacy in the armholes. The problem is that everything else is there, and what remains fascinates and advances with the emotional delicacy of a petomaniac pachyderm. It’s a bit like being served a cherry fallen from the garden of the Hesperides and dipped in ambrosia on top of a yogurt cake with eggshells. It’s very elementary, and technically it’s completely flawed, Greyish-white photography that regularly makes you want to put mikados in your urethra to forget about the drill that stuck you in the eyes.

A great race: photo, Dany BoonWe recognize a French film for its marked taste for naturalistic-urban white

Only the flashback sequences make it, and the rest just have What have we all done to God? as a serious contender for worst picture of the year. As usual, the visual seal, editing and cutting unfortunately more reminiscent of a great television movie in disguise than a work of cinema – Option trembling travel car and traffic with false bottoms that jerk. And coincidentally, well, it’s TF1 that finances. There are a few little gimmicks from time to time, but overall the language of the pictures is right up there with the daisies, plus they’re not even pretty to look at.

And since we can say it now: if even Franck Dubosc manages to photograph Cergy-Pontoise correctly, Christian Carion must be able to do it.

A great race: photo

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