D.Moore

This is such a carefree ride that its creators didn't even think it necessary to come up with a proper script. Plot-wise, it's about nothing, but the atmosphere is pretty good, especially thanks to the soundtrack and the shots of motorbikes whizzing through the American landscape. Jack Nicholson was the best of the bunch, and the prison and diner scenes were the only stops that didn't bore me. But they say it's a cult.

Black Priest Nick Cave ceased to be human around the year 2000. When he writes a song, he leaves a child alone in a room with a Mongolian psychopath and a unicycle clown he shoots, he doesn't remember much about the 1980s, and watches Scarface with his sons. It's definitely not a normal documentary (if it is a documentary), but it surprised me with its accessibility and especially its non-depressiveness. It shows Cave as a funny guy with an extremely charming look who used to do a lot of drugs, but today is happiest when he can write and hang out in the studio with Warren Ellis and the rest of his gang.

Buster Keaton, pioneer of black humor. Only he, dressed as a convict, manages to escape from the guards directly to a prison, where he is awaited by a gallows, a rubber rope and fellow prisoners who are quite disappointed by the outcome of the execution.

Many people like the first half set in a bank better, but it wasn't until the haunted house mayhem, with Buster Keaton throwing scared stares and driving ghosts backwards down the hallway like a traffic cop, that I really got excited.

Boat dining, night hauntings, underwater propeller repair, swordfighting (with swordfish), rescue from cannibals, fireworks shenanigans... In short, one idea after another and Buster Keaton in top form. Pity about the slower start.

Initially extremely engaging and very atmospheric, the spectacle degenerates somewhere in the middle of the film into a parade of hard-to-believe and far-fetched situations, during which one can't help asking questions like "How is it possible that...?", "Are you serious?", "Are they really that stupid at the FBI?" and so on. It's a shame, because the film obviously takes great pride in being as real as possible, and this assorted nonsense somehow can't let it do that.

A terribly chaotic affair. All those who found the film to be clear have my admiration, because all those exploding blocks made my head spin, and if someone hadn't shouted every now and then and commented on the situation, I probably wouldn't have had a clue what was going on. The worst thing was that the confusion almost suffocated even the few good jokes (I liked Han Solo and Chewbacca the best). The Simpsons episode that just made fun of this movie was a hundred times better.

The triggering mechanism of the plot is really brilliant this time and the slapstick literally throws one great gag after another. Whether it's the initial visit with a new family, the dining (especially sweetening the coffee), the sleepovers, the photography or the final fight to the death.

Francis Veber's typical cocktail of classic comedy and gentle moralizing, this time with the great Daniel Auteil in the lead role and the literally magnificent Gérard Depardieu in... In the second lead role.

This film depends on how much you like wacky Italian humor. I mean, the really, really, really goofy humor, not Spencer-Hill. Compared to Here We Go Again, Eh Providence?, even the extremely wacky Cry, Onion feels like a rather sedentary comedy for beginners. But today, I was not in the mood for such a spectacle with a suspiciously dashing individual in the lead role. And so I appreciate mainly the cool music, the fight in the house and a few jokes as if they were from a slapstick.