Penelopethemovie

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[CRITICAL] IT is CALLED JEEG ROBOT

Under the pretext of diverting the figure of the super-hero, It is called Jeeg Robot offers mostly entertainment to multiple influences. For those who despaired of seeing again a film genre(s) Italian, after thirty years of scarcity. For cancres of the background that have not read my article myths revisited, legends, devious, today I remember […]

[CRITICAL] the ORIGIN OF THE VIOLENCE

Eleventh feature film dElie Chouraqui, the ORIGIN OF THE VIOLENCE is the adaptation of the eponymous novel by Fabrice Humbert, inspired by the true story of the latter. Powerful and moving, it tells the story of how Nathan Fabre, a young professor, discovered incidentally during a visit to the Buchenwald concentration camp, the existence of […]

[CRITICAL] The ORPHANAGE (2007)

We devote a tiny retrospective, with Juan Antonio Bayona on the occasion of the release of his next film, a Few minutes after midnight on January 4, 2017. On the menu: the critics of the films made by the author: The orphanage (2007), The Impossible (2012), and finally a Few minutes after midnight. Then, in […]

[CRITICAL] The OUTSIDER

After The chorus, Christophe Barratier tries with happiness to the genre thriller banking and economic adapting “The gear, memoirs of a trader”, the book of Jérôme Kerviel. The risk was great of sob in describing the battle of a David against Goliath, that would be the Society in General. Fortunately, there is nothing. The director […]

[CRITICAL] PACIFIC RIM

Let’s be honest, I had huge a priori on the PACIFIC RIM. The trailers and the first images were frightening to kitschy, more about teasing than expectations exacerbated. The director, Guillermo Del Toro , to me, was a man of a great film, the superb Pan’s Labyrinth. The rest of his work left me relatively […]

[critical] MOM OR DAD

Ce DAD OR MOM, with The Family Ram, released 1 and a half months earlier, are two comedies popular particularly successful, and doomed to a runaway success… Would this be a form of renaissance of the French cinema ? We, one sees above all a redefinition of the codes of identification of the spectator with […]

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