“Final Cut” (“Coupe!”) by Michel Hazanavicius: Film Review | skin 2022

The scariest film to open the Cannes Film Festival is Michel Hazanaviჩius’s meta-zombie comedy. ᲤFinal installation (coupe!) is also one of the smartest and fastest entertainments, at least for those who have never seen the original it is based on.

Following the pattern that made Shinichiro Ueda’s 2017 Japanese horror film a cult hit, grossing $60 million worldwide on a budget of $25,000, Oscar winner Hazanavicius (“The Artist”) is smart enough to enough to use if-is. The “break, don’t fix” approach keeps almost everything intact except the language and the actor.

The result is a movie that will work perfectly for a packed house (if it still exists), taking viewers behind the scenes of a B or Z movie depending on the original title, which was changed due to its connotations. . The Russo-Ukrainian War, which is terribly wrong until it starts working out amicably. For Gori Dogs and Moviegoers, Cheap Thrill ᲤFinal installation It’s watching horror images of sausages, blood, brains and severed limbs being made, and then realizing you might still be scared and spoiled. It’s not something deep, it’s more like a fluffy fluff that has the potential to please people.

Like the original, the new version opens with a raw 30-minute sequence in which the footage of a zombie movie becomes truly deadly, with the cast and crew transformed into immortal bloodsuckers. Finished with the film and the subtitles written, we go back to a few weeks earlier, when a French secondary director, Remy Bouillon (Roman Duris), is approached by a Japanese producer (Yoshiko Takehara) to make a horror film. On a continuous reception. This isn’t Remy’s cup of tea, but it does the job, mostly to impress his daughter, a rogue filmmaker in Rome (played by Simone Hazanavicius, who is a real director’s daughter, if all else fails).

After many accidents, including a car accident in which two main characters were injured, Remy is forced to play the role and incarnate the director’s character in his own film, while his wife, Nadia (Bérénice Bejo, who, yes, she is still a partner in Hazanavicius), is cast in one of the lead roles. Soon we will be back to the beginning of the 30-minute feature film that started the film, but this time we can see everything that unfolds behind the camera that we are already behind.

It might not make sense on paper, but it has a screen. ᲤFinal installationThe third act is definitely the most powerful, letting us figure out everything that went wrong in the opening segment and turn it into the main Schlock Festival. What looked like a bad movie at first isn’t really what it sounds like: well, it’s still pretty bad, but also pretty fun the second time around, as Remy runs like a madman and it’s the case for the selfish drunk cast members and stars to save The movie is demolition.

then Artist And respect for the French Nouvelle Vague Godard Mont Amournot to mention two HSO 117 Spy says, Hazanavicius has become something of a stuntman, which makes ᲤFinal installation Great for him. He’s always been a technically savvy director, if not a highly intelligent director, and here he assembles scenes for maximum comedic impact, working with cinematographer Jonathan Rikeburg (Ear) To give a dense, hand-dyed look.

Some vomiting, such as when a poisoned actor’s (Gregory Gadebua) zombie vomit turns into real vomit, is performed multiple times, which is a common feature of French comedies: repeating the joke beforehand. He will eventually spoil everything. It could also be the horror film’s two main comics, pretentious young star Raphael (Finn Oldfield) and unscrupulous YouTuber Ava (Matilda Lucy), although Oldfield is so sure his imagination doesn’t run mostly on his jokes.

Despite some longevity in the opening and middle sections, Hazanavicius keeps it all fast and alive, causing a real element of danger when we discover that Nadia has a violent past that she is trying to suppress. Throw a real ax instead of a prop and it’s all made for a blood-soaked ending, though again, this is more about why and how all the fake blood is released.

Like the first version, it also runs in pure guilt mode from start to finish, meaning that when Remy is sentimental about Roma, or about Hazanavicius Is it over there Daughter: That’s not very believable, even if the closing shell connects well. There’s also a bit of a downside to moving a Japanese film to France, which the director justifies by showing Remy’s efforts to please his producers as much as possible until he cracks Pearl Harbor, which is unfortunately translated.

It’s as if Hazanavicius is trying to resolve issues of cultural appropriation until he himself is blamed for it, and that’s also a little weird. However, to be honest, ᲤFinal installation It’s really just a zombie movie, which is a tired, universal genre right now. Either way, the director can be blamed for profiting from someone else’s great idea, though he certainly paid for it – the budget here is much bigger than the budget. a dead cut – and, as they say, “you steal the best”. Just like zombies never die, this is a concept that can come back until it finally dies.