Matt Damon doesn’t hesitate to go in projects or simple secondary roles away from that, if known of Jason Bourne, proving easy to her love of film. It appears here as the perfect American follower of the weapons, a driller of oil without a job, but markedly less combative, from his Oklahoma native and the city of Stillwater, in particular, to try to bring justice to his daughter imprisoned in Marseille, accused of the murder of his girlfriend. A more old actor is particularly comfortable in the role of a man gruff the big heart, in search of redemption and shift just as much in his own life as he tries to lead to Marseille, leading his investigation and letting himself be overwhelmed by regret, putting a little more in a destined to be a foregone conclusion.
For those who know the city, the creeks and the deep blue sea, the sky so clear and the breeze of the heights, the few scenes showcasing the ocean city will always have its effect, or its effect nostalgic for those who have left it. The residents who were not in a hurry, bars, neighborhoods, and streets, or Our Lady, seen from afar, as all know. The cities of the Northern districts were young little convenient, and the struggle between the spoken and aggressive jokes, morons, without any value judgment, for a single observation of a world of its own, and certainly forgotten. The violence of trade, and in a single scene as fast as it is effective will point to the gap between two cultures, will be enhanced by the dam of the language and the difficulty of communication. Communication challenged throughout the film with his relationship to Virginia Camille Cottin) met by chance and that will help Bill while being confronted with his character as unique, and a Christian.
And this is the first time a French actress does not task in an American film. Tribute must be paid to the performance even if in character it will reply to the perfect portrait of the French woman-independent, actress of theatre nerd and appropriate clothing, a little lanky and jean falling…
In contrast, the social inequality with the more affluent areas, and its population sitting as so often in the French cinema, allowing the silence to replace their useless discussions, and Bill to get out.
Two worlds are drawn by the other that the differences will eventually separate and injustices will be in the background. The way of the cross in the face of the French justice for Bill remains as a watermark and does not really account for the difficulty to re-open an investigation and to describe the real difficulty in being heard. It’s a shame.
Abigail Breslin leaves it, a curious feeling of a game supported and not very convincing, and for the time quite dramatic, in relation to supporting roles for city youth to the natural confusing (as one can easily imagine happy to their scene with the actor).
Also with a fake twist that can be guessed fairly quickly, remains an intrigue between social drama, thriller, and romance oscillating from one to the other, but where the issues may be lacking. A special atmosphere of false tracks without ever finally go at the end of one or the other.
A lack of communication that will be used to a rather unsatisfactory conclusion, maybe the fault of this film by an expected resolution to support the progress of a Bill. And the plot was certainly a true power if she wanted to confront the whole power of the United States in the face of the other.
After Spotlight Tom McCarthy resumed his search for the truth, exchange, and communication, not necessarily temperate, to discover for this mixture of the genus, which is also its charm.
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