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[critical] WRONG COPS

Hasmin : “It was your film ? It was about what ?”

Paul : “Ah yes ! It was awesome !”

Amin : “At this point ? It was about what then ?”

Paul : “Yeah yeah, totally.”

Amin : “And so it was about what ?”

Paul : “everything. Nothing. It is the absurd. It would be difficult to explain in a few words only.”

Amin : “Yeah, do a review then.”

Inspiration and motivation are often substantial. Never the original. Money, fame, hookers, drugs, I do not need such trivial motivations. The love of my neighbour, his progress in the intellectual, his / her referral into the world of film, however, are mine.



Behahaha as it is not believable. And yes, know lie is also, by the belief, by the mastery of the formatting.

My motivation finally spread out on the big day, try to refocus on the criticism of WRONG COPS, a new object of Quentin Dupieux. Finally, if I stayed too scattered, and he could not me. I do not do that stick to the form of the film. Because what shocks and knocks, it is the unique ability of the director to serve up a brothel explosive and fragmented (hence in every sense, and then reverted to his initial intention) but at the same time, perfectly organized and controlled. In the course of his films Mr. Oizo/Quentin Dupieux says, finds, and imposes its style.

Plans, framing, sequences, and the photo we are navigating familiar ground. His paw is now recognizable and, most importantly, expected. It is indeed a real pleasure to find a particular aesthetic, but totally assumed, which is unique and mastered. The talent of directed by Quentin Dupieux stuff and its achievement is made even more precise and effective. The art he is putting in place, this piece extraordinary, is more polite and will approach more and more perfection in its domain. Rough and soft, solid and flexible, its staging of the absurd, it also becomes a conceptual and worked out that its about.

If I used his pseudonym “Mr. Oizo”, it still wasn’t without purpose (Because mine of nothing, I’m trying to build my reviews and give them a smooth transitional palpable. At least, I hope so.). To stretch the description of this force of staging, it is impossible not to mention the quality of the soundtrack, which is involved in the development hardware of the film. Musician and artist known under this name, Mr. Oizo serves as a soundtrack to mind-bending, insane, unique, détonnante, surprising, perfectly adapted to its work. Never can be separated, the music takes us along the hour and a half of the film and imposes his own rhythm. It is at the discretion of a diapason dissonant and primesautier that the story is built. We, mere spectators, we suffer and tressaillons when the pace picks up. And that’s fine.

The film is built around music. But not only that. As I said earlier, we are witnessing the affirmation of a style. To the affirmation of a director. Who builds a fresco art by its various creations. And Quentin Dupieux makes perfect sense. And, most importantly, had fun. Indeed, he knows fully use its own heritage to deliver a work to the time ovniesque and perfectly known. It realizes the ambivalence to create something new, unique but just as expected, and giving the impression comfortable déjà-vu. He enshrines his own style. This film is unique and off the beaten track. But, for a film by Quentin Dupieux, it is just a normal film which we weren’t expecting less.

Recognizing his own talent and his gift for the absurd without seeming pretentious is it possible ? Yes. And this in particular thanks to the use of its own references in a humourous way. And above all, light. A Chivers in the credits, Jack Plotnick leaving his dog, a mother and her daughter looking at Rubber… And what about that final scene bewildering and exciting involving one of its music ? (Because yes, remember, it is advantage of the music to turn on the style. It all ties in !)

Continue the transition by addressing then the humor. Absurd humor strict is obviously present. Fans will be delighted. But, note in this new film the appearance of a sense of humor more accessible. It is as if, once he got rid of the work dry and surgical purely absurd (but now assumed) that he had made previously, Quentin Dupieux is allowed to sail to other countries to be humorous. Or at least, less theoretical. Also always a pest, humour through the film is so multi-faceted. There’s something for all audiences. But I reassured the fans, you only fall all the same not in the mainstream. It is more from the perspective of a humor so suited and thought, that it can only be pleasing.

“Quentin Dupieux provides us with his film that is at once the most complex and the most accessible.”

The director thus opens other forms, but its substance remains unchanged. The film is short but its philosophical range is substantial. Impossible to summarize in effect the topics covered in as little time as the film lasts. The film leaves us with reminiscences once saw : absurdity of life, immobility, normality, power of music, law, transgression of the codes… The themes are vast and multiple. Not necessarily need to be discussed and researched. The director leaves it to the viewer to make up his own mind. It plant just the seed in our brains… Quality or default ? Laziness or talent ?

But it also leaves the task of setting up the reflection by a casting out of the ordinary. Huge sensation now well-known : Marilyn Manson as a teenager musty (its sequences composed originally the first fragment of the movie). In addition to this, what to say of Eric Wareheim in obsessed ? Mark Burnham at the dealer ? Steve Little looser in the doubtful past ? There are even Jon Lajoie ! And special mention to Eric Judor in a blind aspiring musician, of course ! Stating that this is weird to hear for once to speak in English without making the con. Aaahhhh “H”, what a great series it was… Yes, it was the quarter of an hour of nostalgia.

And I realize that I made a long one. While I had not planned it. I’m blabbering again. Recentrons us. In summary to conclude ? Fully aware of his status and of his work, Quentin Dupieux provides us with his film that is at once the most complex and the most accessible. A work antithetical to his height.

CASTING
Original title : Wrong Cops

Achievement : Quentin dupieux

Screenplay : Quentin Dupieux

Main actors : Mark Burnham, Eric Wareheim, Eric Judor, Steve Little, Marilyn Manson

Country of origin : France

Released : March 19, 2014

Duration : 1h25mn

Distributor : UFO Distribution

Synopsis : Los Angeles 2014. Duke, flic pourri and music lover, pushing the grass and terrorizes passers-by. His colleagues at the office: an obsessed sexual, a cop blackmailer, a treasure-seeker at the doubtful past, a one-eyed monster is dreaming star techno… Their system makes little tricks and games of influence is disturbed when the latest victim of Duke, a neighbor left for dead in the trunk of his car, wakes up.
TRAILER

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