MY REUM, serial mother – Review

The glamour of her appearance in Poupoupidou or potacherie of his recent brats, Frédéric Quiring seems to have little retained. In her new comedy My Reum, he is a master difficult to his subject and does not exploit the derision of his revenge movie.

Before addressing the qualities of the film, it is appropriate to denounce an aspect truly offensive, and which cannot be tolerated. It is not a question of censorship, or raise the umpteenth time the question of ” Can one laugh at everything ? “but just to raise some of the jokes that convey ideas to a young audience discernment still under construction. His backstory is that of bullying, consequences of bullying, it is a shame that it is appropriate to itself by moments ! An entire sequence is based literally on the so-called “ugliness” of a little girl, and everyone seems to agree that ” it is too much shame to embrace the sausage “. Not only there is nothing to justify these remarks, and never these comments are désamorcés.

Laughter’s physical features is one thing, to tell children that they have the right to bully because she is “not beautiful” is another. In the same way, the manner in which are presented the parents who beat their offspring is more than questionable. The axiom that says one should not hurt seems to be lost in the darkness of ” this is not his son, then not to worry “. So yes, everything is justified by the registry comical, but no, not everything is acceptable, provided that there is enough material to write with more subtlety. Denounce the victimization while encouraging people to ridicule is rather ironic, is it not ? Like comments bad about homosexuals in The new adventures of Aladdin, concepts that are only communicated a few seconds on the screen, but between the clichés that plague the hearing schoolgirl. And so few people seem to address it during the live viewing is that it is all the more necessary to unscrew the drain.

Past these faux-pas, it is necessary to recognize the film it is sincerely well-intentioned and offers a mechanism that renews a little of what we usually see. It is served by a staged little inventive, but really neat, dotted with small details that make it fluid -such as this small planet from the ceiling, which gives way to the moon. Where lies the intelligence of the producer, it is in the twist of the everyday. The life of every day that it depicts is, paradoxically, as hyperbolic as credible, and it shows in the microcosm of the neighborhood. It starts from the basic concept of the maternal instinct, and is used to portray a story tart whose lack of morality is sometimes orgasmic.

This small universe is also familiar thanks to those who startle the children and, in particular, the trio of bad boys. All are undeniably talented, and in spite of the roles exaggerated they sound, once is not custom, as little of their age. The darling son, the talented Charlie Langendries at the nerve of war, is an epicenter adorable that awakens the desire to protect, and helps to justify the twists and turns of the most convoluted. The complicity between the hero is a red wire solid, but their development is uneven. In fact scénaristiquement, if the events are bound correctly, the whole clearly lacks finesse. It is somewhat unfortunate that the consequences of the actions do not give rise to other situations, in prison for example, and until the last sequences, it seems that the critical aspect is an excuse to be anecdotal. But the last ten minutes arise to finally treat decently the bullying, which is not overlooked. And although this final sounds like an awareness-raising campaign on television at the beginning, he manages to condemn the executioners in all their perversion to the public. The tenderness and the shock in everyone’s eyes is deeply moving.

As for the humour, it works quite effectively even if he struggles to find a balance between fly, water guns and darkness. It is best to be sensitive to the physiological in order to be able to laugh long scenes embarrassing where one revels in the laxatives, and the shrieks at base ” He ate shit ! “However, once these traits to be rude forgotten, everyone can find his account at times, even if a point of view purely subjective, the gags most funny are not enough exploited –RIP Croustibats. The room laughed several times-throated, and it is true that some jurisdictions humorous are delightfully vicious. There is a consciousness very precise rhythm required by the genre since the one-upmanship of who will be the worst blow to the other is awesome, and the originality of the side adult is undeniable. Audrey Lamy is almost entirely responsible for the success of the comicité, it is in the centre in full light from the first plan, which is itself radiant and talents operated with brillo. Super-heroine sun-drenched super-wicked bathed in tears, she sparkles and manages his gesture with a spontaneity delectable. She is a strong woman, who isn’t afraid of getting their hands dirty. Despite the madness of his methods, she, unlike the man of the home, was able to perceive that something was not right and that he had to fight.

In the end the film manages to educate while being a time of entertaining quite a respectable and widely smile. On the one hand, if we focus on the slope-critical, it is complicated to make abstraction of his differences since he does not claim the thinking outside of his motivation overall. On the other hand, if one omits this, and that it retains its warning, it’s so vibrant and colourful that it is a good time to extract the trouble. But in the category of mom psychopath, it is better to err on the side of John Waters.

Manon

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MY REUM, serial mother – Critical
Original title : Ma reum

Production : Frédéric Quiring

Scenario : Frédéric Quiring

Main actors : Audrey Lamy, Charlie Langendries, Max Boublil

Release Date : July 17, 2018

Duration : 1h25min

2.5Questionable
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