Scandale

Un film sur le mouvement « MeToo », peut-être le premier, mais certainement pas le dernier. Il ne faudrait certainement pas minimiser de tels actes ou déshonorer les victimes. Ce que j'ai particulièrement apprécié dans ce film : les maquillages, un Oscar mérité et les autres récompenses. En fait, je dirais que le maquillage de John Lithgow suffit. C'est qu'il se démarque du casting et domine par son aspect dégoûtant, répugnant et obstiné. Margot Robbie lui emboîte le pas et excelle par sa fragilité, sa naïveté et sa confiance aveugle. Nicole Kidman m'a perturbé, car on dirait qu'elle porte un masque, mais je crains qu'elle ait subi certaines « améliorations » et qu'elle joue sans masque. Charlize Theron m'a laissé perplexe. Les autres personnages apparaissent brièvement, à tel point que j'ai eu du mal à les intégrer dans l'histoire. Malcolm McDowell, dont la brève apparition est cruciale, fait fort avec sa réplique acérée à John Lithgow, « Ce point de vue n'intéresse personne », qui se veut intemporelle et traverse tous les cas similaires jusqu'à aujourd'hui et continuera à le faire. Ce que je n'ai pas aimé dans le film : le concept global, qui ne m'a pas complètement convaincu, même s'il n'est pas ennuyeux, que le récit est bien construit et que certains dialogues sont vraiment bien écrits. Donc trois bonnes étoiles. (30/12/2023)

The opening five minutes scared me because everything suggested that Charles Randolph was trying to replicate the actual hyperactive style of Uncut Gems. Luckily, this zest quickly subsided and the story began to be told in a more classical biographical rhythm, which despite the ambiguous tone of some key scenes, lays the cards on the table too quickly and does not allow the main stars to shine as brightly as their key roles deserve. Nevertheless, not only does the unwavering Nicole Kidman shine, but so does Margot Robbie, who outdoes herself and it is her Kayla who pulls the whole intense case above average. However, it only partially manages to break free from the obvious formula, since the ending neither moves you nor crushes you. And that is a serious mistake with a topic that is still painfully relevant. (20/01/2020)

To break the willowy Jabba the Hutt’s stick, women must be like rods. And if the compensation is lower than the severance pay? Don’t cry; it’s your own doing. Recount and Game Change have already shown that Jay Roach knows how to handle this. Beneath layers of makeup and the barrage of Charles Randolph's wordsmithing, it’s not so much a drama about how difficult it is to stand up to the powerful whose bread you eat, but rather that everything is for sale. Job positions, self-respect, media space, political candidates, and even the truth. A divided America is at a crossroads and won’t easily find its way out. Fortunately, this can’t happen in my country. (24/02/2021)

A procedural that, thanks to its extremely soft sensitive topic, seems to be angling for the Oscars, but it’s not that sensational. It's just one of the many corporate American #metoo type of stories that has great performances, timing and editing, moves very quickly and actually has a solid narrative value, but will eventually be forgotten because something other than militant feminists vs. conglomerates, or flamboyant Trump, will be in vogue. (23/03/2020)

Because I’m not American, I have never heard about that host who went against Trump in her show while the whole nation was watching. So the film barely aroused my interest. The thing I enjoyed was looking at Margot, Nicole a Charlize. And I’m not talking just about their beauty, but about how the make-up artist managed to make them look almost unrecognizable. But that’s about it. (27/01/2020)