Réalisation:
Jay RoachScénario:
Robert SchenkkanPhotographie:
Jim DenaultMusique:
James Newton HowardActeurs·trices:
Bryan Cranston, Anthony Mackie, Melissa Leo, Stephen Root, Bradley Whitford, Mo McRae, Frank Langella, Toby Huss, Ethan Phillips, Aisha Hinds (plus)VOD (1)
Résumés(1)
Lyndon B. Johnson becomes the President of the United States in the chaotic aftermath of JFK's assassination and spend his first year in office to quickly pass the Civil Rights Act. (texte officiel du distributeur)
Critiques (3)
Bryan Cranston once again proves what an intriguing actor he is and how well he can embody different personalities. I hope he gets more roles like this because he's a joy to watch. He’s a great actor who can handle the nuances of characters in all different emotional states. This is an acting showcase and a demonstration that America still has stories to tell, even from its recent history. ()
Jay Roach proved he is a director. Bryan Cranston proved he is an actor. And the Americans were once again delighted to film the story of one of their many presidents. I wonder what they will film about Obama in a few years… ()
"Political procedure movie about the first year of the presidency of the controversial Lyndon B. Johnson he took office after the assassination in Dallas, when he struggled with behind the scenes plotting inside his own party, was scheming in order to seek support across the political parties while enforcing one of the US most reform laws, was working for re-election in regular elections, declared "war on poverty". When a massive wave of civic protests surged he negotiated with obviously racist South, not obvious racist Democrats and Republicans, Hoover and the civil rights movements around Martin Luther King, and on top of that the conflict in Vietnam slowly but surely escaped the attention of everybody. Although largely about the black-and-white question, not black-and-white in the depiction of the time and characters. One cannot shake the feeling that Johnson served with his many steps and his political "the end justifies the means" way as a forerunner of Frank Underwood, and not just in the sequence, where he makes friends with everyone with an American smile on his lips. Those who don't mind intimated dialogs that doesn't have to say everything openly and that relies on the excellent performance of great actors (Cranston finally has the role of "White/Heisenberg importance) who can do without big gestures, it would be shame not to watch All the Way. There has been a lot of good movies in this genre department in recent years, but almost exclusively in the department of television series and not so in the film (albeit television, even if it's HBO) backyard. ()