Buzz Lightyear, Elvis, Black Phone… the new cinema releases of June 22
Buzz Lightyear, Elvis, Black Phone… what are the cinema releases for the week of June 22, 2022?
Each week, Large Screen does its shopping in theaters, and selects a few must-see releases and films (for good or bad reasons). With the return of Buzz but without Woody, the return of the King, Ethan Hawke kidnapping children and a nightmare in the Colombian jungle.
RECOMMENDED OUTINGS elvis
Duration : 2h39
What is it about: Elvis Presley, his life, his work, his successes, his setbacks, his loves, his regrets, his influence and his death.
Why he must see: Because basically Baz Luhrmann we missed a little in the cinema and seeing him return with the biopic of the great Elvis Presley is necessarily promising. Crowned with a very favorable reception during the last Cannes festival where it was presented out of competition, the feature film rather deserves all the praise received. Because the Australian fully succeeds in bringing the King's story to life in a grandiloquent, baroque and euphoric visual festival, while painting a rather fascinating portrait of America in the 50s and 70s (between the birth of merchandising, political manipulation, a wave of racism…).
And if you're not a big fan of the gentleman, you can at least always cling to Austin Butler's performance as the King of Rock' n roll. The American comedian is the great revelation of the film, resurrecting the Presley icon with bewildering mimicry. So frankly, even if the film is too long and the voiceover of the character of Tom Hanks is unbearable, this return of Luhrmann is a real success.
< strong>The Large Screen rating: 4/5
What's this about: In 1995, young Andy discovered his favorite movie, a space opera about a Space Ranger who tries to escape a hostile planet. Here is this film.
Why you have to see it: With its nature as a film derived from the diegesis of Toy Story films (do you follow?), Buzz Lightyearcould have been content with being a stupidly meta object to sell more and more toys. But Angus MacLane's feature film is above all a vibrant tribute to a certain idea of cinema, capable of inspiring a collective imagination. Thus, Buzz Lightyear draws as much from Star Wars as 2001: A Space Odyssey, before adding a reflexivity on Pixar's place in popular culture.
However, the film suffers from a choppy narrative and a pesky lack of risk-taking, especially given its underdeveloped secondary characters. But as an exotic and touching entertainment, Buzz Lightyear remains within Pixar's qualitative average. Too bad it's not more.
Widescreen Rating: 3/5
Our review of Buzz Lightyear
What it's about: Young Finney Shaw is kidnapped by a psychopath nicknamed The Seeker. At the bottom of the cellar where he is held prisoner, hangs an intriguing black telephone. Phone starts ringing…
Why you have to see it: Because it's Scott Derrickson's big comeback to horror after the very creepy Sinister. The filmmaker had left the pre-production of the last Doctor Strange to tackle a much more modest project. So this project is Black Phone, adapted from a short story by Joe Hill. And while it doesn't quite reach the level of scariness of the 2012 movie, it does have some nice scary moments, especially towards the middle.
This is largely thanks to Derrickson's direction, which depicts a marginalized rural America, and Ethan Hawke's performance, absolutely terrifying as the “Grabber”, even though he hides his face from a mask. The whole thing won't establish itself as one of the high points of American horror of the year, but it still has some serious arguments.
Large Screen Rating: 3/5
Our Black Phone Review
What it's about: In March 2008, the oldest communist guerrilla in the world lives its last moments in the heart of the Colombian jungle before the death of Raul Reyes, the number 2 of the FARC, killed in a bombardment by the Colombian army and the CIA.
Why you have to see it: Because we will surely not see such a singular and relevant animated film again thatRed Junglebefore a while. Beyond the wealth of its documentation (which is based on thousands of e-mails sent and received by Raul Reyes), the feature film manages to tell the human condition of these armed forces and their number 2 without give in to the dichotomy by not portraying a martyr or a monster, but a more nuanced portrait of a man whose spirit and cause has escaped him, to the point of no return.
The animation, which previously required filming in live action against a green screen, makes it possible to transcribe this break with reality and to give the filmall its dreamlike and nightmarish dimension. Certain sequences with minimalist lines and garish colors probe the spirit of Raul Reyes. The jungle meanwhile is treated as a character more than just a background to reflect his deteriorating mental state and tighten around him like a vice. This process anchors the film a little more in the register of fiction by moving away from the more cold and factual treatment of documentary films which have already made the rounds of the subject.
Widescreen Rating: 3.5/5