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Mike M (it) wrote: Godard is still capable of shooting a seascape and making it look like a painting, of making what might otherwise seem perfectly jolly holiday footage look like the saddest, most desolate thing you've ever witnessed, and - conversely - doing things with colours that make the whole frame vibrate and sing. As cinematographer, and as an editor, Jean-Luc still very much has it. It's the JLG penhand that appears to have withered and waned. Where, in his defining political texts (or film-pamphlets) of the 1960s and 70s, the filmmaker used to make pronouncements, craft slogans intended to be taken up as tools of the cultural resistance, nowadays Godard seems at a loss for words. This may not be an entirely inappropriate response at a moment when the consumer is faced with a choice between "The Only Way is Essex" on ITV2 and "Made in Chelsea" on E4, but this crisis of authorial voice is made all too literal in "Film Socialisme". The postmodern condition has caused many of its pre-eminent chroniclers to stop making sense, but Godard's latest utterance is the celluloid equivalent of the ultra-rational Agent Cooper bashing his head against that mirror at the end of "Twin Peaks". Everything here is broken down, fragmented, deconstructed. The Greek for Greece, Hellas, is emblazoned across the screen as "HELL AS". (Hell, it's all Greek to me.) And you may be better off dredging your memory of A-Level French than relying on the subtitles, which - at Godard's own behest - offer such a selective reading of the dialogue that this may just be the point. Beyond these sparse words - sample line "spatial form egotism" - who, save Godard, really knows? We are adrift; to paraphrase the U.S. title of an earlier Godardian treatise, it is every viewer for themselves ("It's a work of conceptual art!" "It's b******s!")... To say "Film Socialisme" is a jaded film would be an understatement; closed-off from first frame to last, it's the very opposite of an activist text, and I don't think it taught me anything about the present state of the European Left that I couldn't have got from, say, looking at a picture of the Miliband brothers. In the end, it is socialist only in its commitment to a democracy of images, which may be all Godard has left to bequeath us. Particularly in the third and final act, a whistlestop tour of the disputed seats of European civilisation, "Film Socialisme" comes to resemble a footnote to Godard's (far less abstruse, although in itself somewhat intimidating) "Histoire(s) du cin (C)ma", which at least had the filmmaker's own voice to direct the viewer to a particular idea. Here, however, ontological chaos reigns: footage of WW2 bombers shares space with clips of kittens mewing sourced from YouTube and snippets of "Battleship Potemkin"; when Smith appears, Godard mischievously cuts away from her mid-sentence, in a way the genuflecting Wim Wenders never would from his musical guest stars. It's a mash-up, then. Or is it a stitch-up? The final image (perhaps) says it all: "NO COMMENT".
Rodrigo S (mx) wrote: Filme de cunho polticio, militar recheado por nuances de conflitos morais e demonstrando todo o poderio da espionagem das grandes naes nos dias atuais. O Elenco soberbo e consta at mesmo com uma participao especial do Aaron Paul (Breaking Bad)
Andi D (jp) wrote: I thought it was a really great concept, and I loved how literary the filmmaker was, but I thought it was very slow. Painfully so. Plus I thought the actual filmmaking was awfully pretentious. Dow Mossman himself made this doc worth watching at all.
David K (jp) wrote: Is this movie about true love? I sure hope not... Its disturbing and depressing, it feels real and is incredibly well-acted. A true romantic drama classic
TTT C (br) wrote: (** 1/2): Thumbs Down There are some very fun moments here but not enough for me to recommend the film. A near-miss.
Madison N (ru) wrote: As a Capra fan, I do not think this was his best work (compare this film with "It's a Wonderful Life" and "Mr. Smith Goes to Washington"). The antagonists were just too flat to make me feel for Deeds. Maybe it is only me, but even the jokes were not that funny.
Cedric L (ca) wrote: Funny and action-packed, a fun popcorn flick.
Jonathan A (de) wrote: Bas Rutten and Henry Winkler both make this film well worth a watch if you're into light-hearted comedies. However, Kevin James is surprisingly effective in this film as well. Kind of makes me wish he'd break away from making god-awful Sandler movies and try his hand at better screenplays from filmmakers with actual talent.
Eliel L (gb) wrote: Como pelcula de terror puede ser cursi por su concepto, aun as llega crear su objetivo de crear una que otra escena realmente escalofriante.