"Le hérisson" ~ 6/10

For once, a french "bobo" movie* does not use japanese culture without real knowledge of it. Yet, although the movie itself shows a rather realistic life, it is more a tale where a little girl is the real adult while the adults around are acting like children.
Whilst in the movie Balasko's character is said to be elegant, I'd rather say that Wladimir Yordanoff himself actually is. ^^
A good little movie in the current french production...

(* "bobo" = "bourgeois bohemian")

"Fais-moi plaisir" ~ 7/10

Emmanuel Mouret's great use of light classical music in this comedy drama (or drama comedy) is once again one of the best points in watching his movies. Yet the actors are not at all bad, either, and the screenplay too. The most original thing was perhaps the two doors flat and what it let Mouret do with the lighting and direction.

"One Flew Over the Cuckoo's Nest" [fr = "Vol au-dessus d'un nid de coucou"] ~ 9/10

After Antonín Dvořák, here's another famous Czech gone to America, where he's made one of his best works (by saying that I'm just talking about what the first and last image of the movie makes me think about). Milos Forman's adaptation of Dale Wasserman's play does not only feature a pretty good cast (Danny De Vito, Christopher Lloyd, Brad Dourif, and of course Nicholson), it also gives a lot to think about freedom and resistance. The last scene is full of beauty, hope, and symbolism altogether, and has been written in my memory since childhood.

"Public Enemies" ~ 7/10

Like the images themselves, this movie actually is beautiful but lacks just the little something which could have brought it to the rank of masterpiece. Using digital video cameras is truely a challenge at such of level of production, though ; then, "Public Enemies" is worth watching, and the lighting crew hence deserves congratulations such as those for "Barry Lyndon".
Goldenthal's music has something of a "Last of the Mohicans" but also lacks Trevor Jones' vitality.
The entire cast is great, Cotillard is completely bearable (unlike many of her appearances in movies...).
Maybe the subject of torture against criminals perpetrated by the FBI should be considered a good point for this movie, as Hollywood is always trying to keep up with the political trends of the USA...
Concerning the story itself, this movie is more about men being "publicly enemies" (the FBI agents against the bankrobbers) than about the search of public enemies. Although it shows a pursuit between the two biggest current Hollywood actors (Christian Bale and Johnny Depp), this movie cannot surpass the legendary and obsessive pursuit between Pacino and De Niro in "Heat", even if the latters weren't historical characters.

"Bancs publics (Versailles rive droite)" ~ 6/10

There is a bit of Tati and Bertrand Blier, in this movie featuring a cast almost as huge as the one featured in Laurent Baffie's "Les clefs de bagnole", with some of the best actresses and actors in french cinema's family. Bruno Podalydès really knows how to show the best part (in both acceptions of the term) of all those great actors, particularly his brother Denis (who, btw, and completely unrelatedly, I once met riding a bicycle in Paris ^^).
I somehow felt the very light political touch of the film when finally watching the spinning round of names of the end credits, and vaguely thinking about this year's new form of demonstration in France : the "Ronde Infinie des Obstinés" ; though this round had nothing to do with the subject of this movie, and although the one in the end credits was more alluding to Tati's "Playtime", you can still hear two characters named after french recent Prime Ministers ("Jospin" and "Raffarin"). Still, being "Versailles rive droite" (Versailles' right bank of the Seine), one can wonder where the political ideas really go in that no-so-sociopolitical movie...

"Brüno" ~ 9/10

After "Borat" and "Religulous", Larry Charles's new masterpiece of comedy/documentary goes way beyond any of Michael Moore's works, in any way (and I do like Michael Moore, at least a little).
Brüno is an outrageously provoking (Provost-King ?) character impersonated by an inspired Sacha Baron Cohen. The grandeur of such a movie is to make us laugh with the scariest extremisms America can possibly produce. Particularly scary/funny were the scenes with the "gay to straight converter". Also, the last wrestling scene truely is one of pure beauty. I liked a lot seeing this poor wrestling fan cry, he who perhaps ignored his own homosexuality until seeing two men kiss with his own eyes...