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Voir en Clint Eastwood l’un des plus grands realisateurs de ces 20 dernieres annees n’a rien d’exagere.
Le film retrace l’histoire de Chris Kyle, soldat legendaire de la guerre d’Irak, et plus meurtrier sniper de l’histoire martiale Americaine.
Apres une introduction relativement convenue mais efficace, survolant les jeunes annees et appuyant legerement la periode precedant son engagement dans les Seals, le film frappe, tres fort.
D’un point de vue formel, il n’y pratiquement aucun reproche, que ce soit dans le jeu d’acteur de Bradley Cooper (eclipsant le reste du casting d’une certaine facon) ou la mise en scene, ni Hollywoodienne ni facon cine independant, beaucoup de «camera au poing » s’alternant avec de plus rares plans larges.
De meme, on remarque la quasi-absence de musique, relayee a un plan tres secondaire, preuve qu’elle n’est pas toujours necessaire (prends ca Michael Bay). Il est tres touchant et singulierement beau… J’aimerais pouvoir voir des films comme cela plus souvent! Black Agenda ReportThe Sandernista Journey: An Epic Confrontation with Corporate Power, or a Slow FadeWill Bernie's Burnout Lead To A New Movement?
Global ResearchEvaluate Hillary Clinton by Her Results, Not Her Words“Going After” the Islamic State. From director Clint Eastwood comes “American Sniper,” starring Bradley Cooper as Chris Kyle, the most lethal sniper in U.S. With a ton of source material and superhero films proving that they can make bank at the box office, movie studios are clambering over themselves to bring iconic comic book characters to life on screen. If you’re one of the people who think Steven Avery and Brendan Dassey are innocent, the Netflix documentary series Making a Murderer ended on a down note, with both of them serving life sentences for the murder of Teresa Halbach.
It happens that my wife and I have been preparing for the arrival of our second child during Oscar season.
Whiplash, over which the (mainly male) critics showered saliva, is a movie about men made up of other movies about men. Kyle seduces Taya by hinting at a bottomless capacity for violence; she rewards him with a baby and by ceasing to be interesting. Foxcatcher doesn’t pretend to be about anything other than men, and its interrogation of the male psyche is so bleakly unforgiving that it would be impossible to call it chauvinistic. What we seem to have here is a collective failure of imagination, one that’s creatively self-limiting, not to mention unforgivably lazy. The Flick deals at length with the way people make connections with each other through external cultural phenomena.
Hilton Als’s White Girls begins with a man sitting “on the promontory in our village, deep in movie love. In Annie Baker’s The Flick, now on at the National Theatre, we watch people watching movies.
For the next three hours, we follow snatches of conversation from Sam (Matthew Maher), Rose (Louisa Krause) and newcomer Avery (Jaygann Ayeh), three of the cinema’s employees, as they clean up dropped popcorn from between the aisles. Als sees in Baker’s characters “the funk of the everyday, choking them as they prepared to speak, or tried to articulate, the feeling of life being filled with big waves of everything, and then nothing”. The Flick deals at length with the way people make connections with each other through external cultural phenomena – how we often rely on big screen, technicolour, high stakes explorations of emotion when our own are hard to access. In fact, “movie love” is so inextricably related to empathy and connection to a higher force, that Avery tells his therapist that, in a dream, he realised “the way they decide whether or not you get into heaven is through, like, looking at all the movies you’ve ever watched or all the books you ever read and figuring out whether there was one book or movie that you truly truly loved. When Avery’s greatest movie love is revealed to be the “terrible” Honeymoon in Vegas, his own cultural snobbery sees him taken aback. The Flick argues that cinema and theatre going always, inevitably, involves an experience of reflection and projection, and that these provide us with a microcosm for ways in which we view each other off screen . The Flick is overly concerned with authenticity verses inauthenticity, high culture verses low culture, real time verses story time. Gold: I’m so interested in what you just said, because I think you’re a very very brilliant structuralist. Baker: I think what he’s saying is that television isn’t like that, because it really isn’t. Richard Brody began writing for The New Yorker in 1999, and has contributed articles about the directors Francois Truffaut, Jean-Luc Godard, and Samuel Fuller.
Use of this site constitutes acceptance of our User Agreement (effective January 1, 2014) and Privacy Policy (effective January 1, 2014). Si certains de ses films divisent, on releve dans la majorite des termes elogieux, des synonymes d’Oscar ou Golden Globes, et dans la lignee une brouette pleine de statuettes.
La guerre, des militaires, une vision que l’on pourra vite voire comme glorifiante, certains n’ayant pas hesite a le qualifier de fasciste. Que ce soit dans son approche ou dans sa mise en scene, American snipers ne s’embarrasse pratiquement pas de mise en scene pompeuse. De fait, pas a proprement parler de moments joyeux ou tristes, plutot un flot ininterrompu ou les moments d’apaisement n’existent plus vraiment. Le pari est ici davantage dans des sons d’alarmes, metalliques et angoissants, plus rythmiques que melodiques. Il y a certes une impression de bataille entre un bien et un mal, mais cela n’est jamais fait qu’a travers la demonstration d’une vision Americaine, pas comme un parti-pris. Guess Who is Behind the Caliphate Project?“The Non-Profit Industrial Complex”, and the Co-opting of the NGO Environmental MovementLibya’s “Green Resistance” Movement against US-NATOSovereignty of Latin America Threatened.
Navy SEAL Chris Kyle is sent to Iraq with only one mission: to protect his brothers-in-arms. But wrongful convictions lawyer Kathleen Zellner has been working hard to add a new chapter to this story, and she recently shed some light on her appeal of Steven Avery’s case.

De Niro’s previous decision to show a film about the widely dismissed link between vaccinations and autism.
These are the films of the year, the ones that we think best capture the tenor of the times. A lot of sophisticated, well-reviewed films have been jostling for the attention of adult cinema-goers, and given that everyone tells me that the second child marks the end of leisure, I’ve been frantically trying to see as many as possible before my cinematic experience becomes confined to one endless Frozen. Though it’s a motley collection of themes and styles, I’ve been struck by what they have in common. With few exceptions, they have little of interest to say, and we can easily read their minds from limited range of expressions they’re allowed to enact.
Like every other cop or war movie you’ve seen, it revolves around the clash of an idealistic and talented young man and an evil father-figure.
In American Sniper, there are two female characters, both girlfriends of our hero, Chris Kyle. Before long she is bending his ear endlessly and tediously about being a responsible father while he tries to kill savages on behalf of America and pursue the movie’s real love interest, a hotshot called Mustafa. Patricia Arquette has rightly been lauded for her bravery for allowing herself to be seen ageing on screen. And yet it is clear who is to blame for John Du Pont’s broken soul: his mother, played, with a magnificently evil eye, by Vanessa Redgrave. Perhaps when I re-emerge into the world of grown-up entertainment, things will have changed. The play begins in darkness, a point of light radiating out over the audience, the whirring of a projector the only sound. They discuss their wages, their taste in movies, their star signs, and even – occasionally – heavier topics like their families or mental health. Sam and Avery break up their conversations with a version of Six Degrees of Separation – connecting two seemingly unrelated actors through the other actors they have worked in different films.
Rose is a female projectionist who is projected onto, Sam insists “I’m not performing,” Avery grapples with his own authenticity. At a discussion of the play with Annie Baker and her long-time director Sam Gold, journalist Sarfraz Manzoor asked Baker if she is interested in storytelling through television. The Flick is not conclusive about the role of art in life, or of life in art, but it is strangely hopeful about life as a series of moments. Your California Privacy Rights The material on this site may not be reproduced, distributed, transmitted, cached or otherwise used, except with the prior written permission of Condé Nast. Je n’avais pas reellement de doute quant a la stupidite de ce dernier argument, mais pourquoi pas.
L’action est crue, prenant aux tripes le plus souvent, pas de violon ou ralenti pour presenter des situations parfois atroces, en resulte une atmosphere qui sait se faire oppressante. Clint Eastwood ne fait que montrer ce qu’est la nation Americaine, un pays tres jeune tiraille entre l’ancienne et la nouvelle civilisation Europeenne, ne veritablement a la guerre de secession. His pinpoint accuracy saves countless lives on the battlefield and, as stories of his courageous exploits spread, he earns the nickname “Legend.” However, his reputation is also growing behind enemy lines, putting a price on his head and making him a prime target of insurgents. Whiplash’s variation on this flea-bitten trope is to set it in a music school, and verite be damned. In Whiplash and American Sniper, we are ostensibly invited to sympathise with the women but actually to want them to shut up so that we can get back to the man-on-man action. But her character is crabbed, joyless and incapable of taking delight in life, or satisfaction in her achievements. The other female character, Dave Schultz’s wife (Sienna Miller again), is an adjunct to the action, a piece of narrative furniture who doesn’t rate a mention in Wikipedia’s plot summary until its end. In it, the stars kiss breathlessly, in true love.” A page or so later, now in a darkened cinema, Als says of the same man, “Watching him watch a movie, I noticed how his eyes would open and close slowly, like the folds in an accordion. When it stops, and the lights are raised, we see rows of empty cinema seats staring blankly back at us. The three actors develop that particular silent intimacy that comes from spending many hours with someone, without actually sharing much about each other’s lives. In The Flick, we see even more of nothing – long, drawn out pauses, sometimes funny, sometimes excruciating, sometimes contemplative. I still love movies, and I write movies, and I have nothing philosophical against the medium of television. Meme constat pour les moments pretendument calmes, ou la vision recentree sur Chris Kyle nous donne cette sensation d’etouffement, le changement de plan s’accelerant et ralentissant avec le rythme cardiaque du personnage. La premiere vision, que l’on a tendance a enterrer trop vite, a savoir un patriotisme exacerbe ou mourir pour la patrie est acceptable voire normal. L’impression d’invincibilite, les difficultes, la depression, la remise en question, pratiquement tout y passe. He is also facing a different kind of battle on the home front: striving to be a good husband and father from halfway around the world.
These are stories of male maturation, male courage, male ego, male creativity, and male madness.
None of the movies pass the Bechdel test: not once do I recall two women talking to each other about something other than a man.
J K Simmons plays a tautly muscled jazz teacher who gets the best of out his (male) students by bullying, scorning and humiliating them.
Even our most intelligent movie-makers have pushed women to the side of their stories, denying them volition, depth, vitality.

The drama that unfolds seems both trivial and profound: from Avery’s dilemma over whether to join in with an illegal activity, to his letter to their boss asking that he keep using one of the state’s only remaining 35mm projectors. There are several moments in the play that make me squirm (when Sam says of his brother, “He’s retarded”, and the audience laugh, what, or who, is the punchline?), but it feels the closest to real speech the stage can get. And that feeling of like… of like knowing that I made the right choices, was like the best feeling I’ve ever had.” The movies filled his eyes up.
La seconde, plus actuelle, replacant les proches (famille en tete) comme au-dessus de tout et relayant la premiere vision comme Fasciste. Despite the danger, as well as the toll on his family at home, Chris serves through four harrowing tours of duty in Iraq, personifying the SEAL creed to “leave no man behind.” But upon returning to his wife, Taya Renae Kyle (Sienna Miller), and kids, Chris finds that it is the war he can’t leave behind. There was, come to think of it, a brief sighting of that rare bird in Birdman, but the conversation quickly became a lesbian facesucking session, which is, as I understand it, the invariable outcome when women get together without men.
Samantha, sister of Mason, the central character, is so fully alive that she effortlessly outshines her likeable but bland brother and makes you wish that Linklater had made Girlhood (Samantha is played by Linklater’s daughter, Lorelei). Chris Kyle est ainsi constamment tiraille entre les 2, et ce n’est justement pas la guerre qu’Eastwood presente comme bonne ou plus importante. Il reste une histoire, pas une belle histoire mais un film incroyablement puissant, une presentation a la fois large et intimiste, deshumanisante, que chacun comprendra differemment.
Reparto: Bradley Cooper, Sienna Miller, Luke Grimes, Jake McDorman, Kyle Gallner, Keir O'Donnell, Eric Close, Sam Jaeger, Owain Yeoman, Brian Hallisay, Marnette Patterson, Cory Hardrict, Joel Lambert, Eric Ladin, Madeleine McGraw.
Whiplash is a fundamentally silly film, but the worst of it is its desultory attempt at a female character.
I understand that movies reflect, rather than shape, our interests; their job is to paint what we are, not what we hope to be. And actually the endings of my plays are often the most important parts of my plays, for me. Le voir comme une propagande guerriere servant l’aigle Americain est assez largement a cote de la plaque, bien des critiques sont tombees dans le panneau pourtant. The girlfriend of our young hero – I forget her name – is beautiful, beguiling, and, inevitably, sacrificed to the manly pursuit of the perfect paradiddle. As has been well established by other movies, however, sassy and wisecracking women are desperately sad inside. And I just have like zero interest in a medium that sort of like, long form, that could go on indefinitely.
Melissa Benoist does her impressive best, but her character’s development arc can be adequately summarised in three words: enter, whinge, exit. Our hero quickly intuits that this is true of Taya after he sees her sitting alone at a bar (another sign of emotional turmoil). En 2009 fue el ano en que se retiro y publico su autobiografia, pero el ano pasado murio victima de un disparo en un rancho de tiro en Texas a la prematura edad de 39 anos, la misma que tiene actualmente Bradley Cooper.
Bradley Cooper ha tenido que experimentar un gran cambio en su masa corporal: hasta 18 kilos tuvo que engordar para tener una musculatura propia de un soldado de la marina. Aunque la presencia de la ultima pelicula de Clint Eastwood en el festival era un secreto a voces, su proyeccion no se anuncio hasta 24 horas antes. Entre las primeras criticas, encontramos opiniones para todos los gustos: hay quien apuesta porque la pelicula entrara por la puerta grande en los Oscar pero tambien los hay que se muestran mucho mas reservados.
Roach, Eastwood afronta las ambiciosas escenas de batalla con un puntilloso profesionalismo digno de esa tarea. La camara mantiene un arenoso sentimiento de estar al nivel del suelo mientras va cambiando habilmente entre un rango de perspectivas que, sin embargo, mantiene una fuerte continuidad de la accion.
Protagonizada por un fortalecido, riguroso y "texarizado" Bradley Cooper como nunca antes lo habiamos visto, el segundo film de Eastwood en este 2014 es su mejor pelicula en mucho tiempo. Mas brillante que las ultimas peliculas de Eastwood, se beneficia de la fotografia movil e intensamente enfocada de Tom Stern, del realista diseno de produccion de James M.
Eastwood es un artesano tan cualificado que no necesita neutralizar a Kyle como un perfecto modelo de conducta.
Eastwood y el guionista Jason Hall no encuentran nuevas perspectivas dentro de ese fenomeno, pero eso no hace que 'American Sniper' deje de ser emocionante. La estrategia del director es darnos un primer vistazo de Kyle antes de que se convierta en marine, mostrandole como un chico educado por un padre que le enseno a sus hijos la importancia de defender a la familia del mal. A medida que avanzan los anos y Kyle se siente cada vez mas desarraigado de la vida civil, el actor insinua el terror interno del hombre y su impotencia. Kyle no es alguien que se sienta comodo pidiendo ayuda, y su paralisis emocional es conmovedora. A pesar de que lo intentan, Eastwood y su equipo no pueden compensar los problemas de estructura del guion, ni pueden evitar que las escenas ambientadas en Texas resulten planas y absorban la energia de la pelicula. Una cosa es utilizar lo mundano como contrapunto de la "emocion" de la guerra, pero si te olvidas de hacer que esas vidas mundanas y familiares resulten energicas, se quedan en algo muy plano. Bradley Cooper reconfigura el conjunto con una intensidad cuidadosamente medida y un toque carismatico sin caer nunca en la sobreactuacion.
Al fin y al cabo, ?como podemos conectar con un alguien que ha matado a tantas personas y que abandona a su familia en demasiadas ocasiones? En solo un dia ha conseguido 30,5 millones, superando el record de Avatar de mayor recaudacion un dia de Enero con 25,8 millones.

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