[CRITICAL] THE MEYEROWITZ STORIES

Director independent school in new york, Baumbach returns with a new variation of his themes of predilections.

See Noah Baumbach in the Official Competition at the 70th Cannes film Festival is a small event. Not because THE MEYEROWITZ STORIES is part of the Netflix-gate, but because the director classified as independent can enjoy a showcase of major to unveil its cinema, usually intended to be viewed by a fringe group of insiders (the term is relative, however). After two works of fiction, far below what we expected of him, Baumbach returns with yet another variation on of the reasons he’s so fond of : the family littered with failures, of the different characters. Above all a cinema of characters, it is quite possible that one is not receptive to the characteristics of the work of the director american. A form of cinema also restricted leaves necessarily a part of the public on the doorstep. That is important, Baumbach is not the type to deny themselves.THE MEYEROWITZ STORIES tells how the members of a family are trying to adjust the various that afflict. It is familiar ground, the markers are present. End writer, Baumbach is surrounded by a delicious trio of male composed ofAdam Sandler, Ben Stiller and Dustin Hoffman, is by giving all three to your heart’s content in these scenes are juxtaposed with the laughter, a slight irreverence and a layer of dull emotion. We didn’t get out moved to tears, but rather deeply taken in by a blues existential. Baumbach does not lack ask a tender look on his band, despite their flaws. The whole film plays on this point, on the ability to capture our attention despite the choice of a staged very plan.

The appearance of the end credits, one becomes aware that this is not with THE MEYEROWITZ STORIES that Baumbach has finally given birth to a great film. We must not delude ourselves, it will probably never be the case if it is not coming from a modus operandi limited. The remaining pleasant, nothing prevents us from having a good time in front of this comedy, made with gusto, in which Adam Sandler flies over. The opportunity to remember how this actor, when it is operated at its fair value (see to be convinced of this, Punch-Drunk Love de Paul Thomas Anderson), is of paramount importance in the world of american comedy. And Baumbach owes him a lot on this one.

Review published on 22 may 2017 at the screening at the Cannes film Festival.

Maxime Bedini

YOUR OPINION ?