Buzz Lightyear, Elvis, Black Phone… what are the cinema releases for the week of June 22, 2022?
Every week, Ecran Large makes its market in cinemas, 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 who sequester children and a nightmare in the Colombian jungle.
What is it about : Elvis Presley, his life, his work, his successes, his setbacks, his loves, his regrets, his influence and his death.
Why you have to see it : Because basically we missed Baz Luhrmann 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 birth of merchandising, political manipulation, wave of racism…).
And if you’re not particularly fans of the gentleman, you can at least always hang on to the performance ofAustin Butler 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.
The Widescreen Note : 4/5
What is it 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 that movie.
Why you have to see it : With its nature as a film resulting from the diegesis of films Toy Story (you follow ?), Buzz Lightning could 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. Thereby, Buzz Lightning draw as much in Star Wars that 2001: a space odysseybefore adding a reflexivity on Pixar’s place in popular culture.
Still, the film suffers from choppy storytelling and a pesky lack of risk-taking, especially given its underdeveloped secondary characters. But as an exotic and touching entertainment, Buzz Lightning remains within Pixar’s qualitative average. Too bad it’s not more.
The Widescreen Note : 3/5
Our review of Buzz Lightning
What is it 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 ringing…
Why you have to see it : Because it’s Scott Derrickson’s great return 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. This project is therefore Black Phone, adapted from a short story by Joe Hill. And if it doesn’t reach the level of jitters of the 2012 film, it offers some beautiful moments of fearespecially in 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 pinnacle of American horror of the year, but it still has some serious arguments.
The Widescreen Note : 3/5
Our review of Black Phone
What is it 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, 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 never see again an animated film as singular and relevant as red jungle before 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 painting the portrait of a martyr or a monster, but the more nuanced one of‘a man whose spirit and cause eluded himto the point of no return.
The animation, which first required live action shots on a green screen, allows this break with reality to be transcribed and gives the film all 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.
The Widescreen Note : 3.5/5