Réalisation:
James WanMusique:
Brian TylerActeurs·trices:
Vin Diesel, Paul Walker, Jason Statham, Michelle Rodriguez, Jordana Brewster, Tyrese Gibson, Ludacris, Dwayne Johnson, Kurt Russell, Tony Jaa (plus)VOD (5)
Résumés(1)
Cette fois la menace prend les traits d'un tueur à gages des opérations spéciales britanniques aussi insaisissable qu'impitoyable, qui n'a d'obsession que la vengeance. Commençant par éliminer sans autre forme de procès Han à Tokyo, puis s'attaquant à Hobbs à Los Angeles, Deckard Shaw ne s'arrêtera que lorsqu'il aura liquidé l'ensemble de l'équipe qui a fait tomber son frère, Owen Shaw lors de leur dernière mission. Quand Shaw fait exploser la maison de Dom Toretto, faisant ainsi voler en éclat le symbole de l'unité familiale de son équipe, ce dernier se voit contraint de demander de l'aide à un autre « fantôme »dans les hautes sphères du gouvernement. Cette fois le marché sera le rapatriement d'un prototype top secret pour le gouvernement américain. Il s'agit en fait d'un géo localisateur de pointe dont ils pourront se servir afin de débusquer l'insaisissable Shaw avant qu'il ne frappe de nouveau. Dom, Brian, Hobbs, Letty, Roman, Tej et Mia vont devoir affronter comme un seul homme le plus grand danger de leur existence, et ce aussi bien dans leur environnement quotidien qu'au bout du monde, d'Abu Dhabi aux rues de Los Angeles. (texte officiel du distributeur)
(plus)Vidéo (31)
Critiques (14)
Un film d'action routinier. Enorme, bruyant, mais sans scénario particulier. Même au niveau de la réalisation. Les Émirats financent une partie du budget, alors nous insérons quelques singeries dans les gratte-ciel d'Abu Dhabi. Pour qu'ils ne se sentent pas moins important à côté du Calife. Un événement tragique interrompt le tournage et nous devons investir dans un Paul numérique, alors nous finirons à la maison à Los Angeles dans un souci d'économie. Le meilleur personnage (The Rock) est peu présent dans le film et l'action la plus excitante est celle que vous connaissez déjà dans la bande-annonce. Le dernier adieu à Paul est joli.
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Vu dans le cadre du « Challenge Tour 2015 : 30 jours de cinéma mondial ». Film numéro 1 – USA. La semaine dernière, j'ai vu un opéra pur et dur composé par Bohuslav Martinů. Mais alors aujourd’hui, c’est l’action qui était pure et dure ! Avec ses 140 minutes d’action pratiquement ininterrompue, Fast and Furious 7 mérite la qualification de hit d’action de l’année. Sans nous appesantir sur le manque de réalisme et les exagérations peu subtiles, disons que c’est le numéro le plus dingue, mais aussi probablement le plus réussi, de toute la série. J’appuierai cette affirmation par un nombre de raisons, à commencer par Jason Statham. Je considère les acteurs Diesel et Statham comme les maîtres du cinéma d’action de ces dernières années, donc les voir ensemble à l’écran n’est pas pour me déplaire ! Le Deckard de Statham est celui qui donne le plus de fil à retordre au Dominic de Diesel et, par conséquent, on ne pouvait pas trouver meilleur antagoniste. Par ailleurs, le film déborde d’enthousiasme grâce à une palette de stars qui n’arrête plus de s’étoffer. En l’occurrence, c’est une vedette de films d’action plutôt des années quatre-vingt qui se joint à la fête, à savoir Kurt Russel, sans oublier la belle Nathalie Emmanuel. Les répliques humoristiques étaient également de la partie, ainsi que la traditionnelle raillerie noire. L'hommage de fin à Paul Walker était très touchant et fait avec goût. Dans le genre, je n'ai rien à redire, et on pourrait difficilement imaginer plus d'action tenir dans 140 minutes. Un film extrêmement satisfaisant et un démarrage sur les chapeaux de roue – au propre comme au figuré – pour mon Challenge Tour !
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Rich parents lacking good sense bought their model child all the toys he asked for. When he had them in hand, without any good sense, he started to smash around with them. The cars were flying, the good guys were in them too, the bad ones were too much for them, and they were all chattering just as a little child would think. At the beginning, you first find it cute, then annoying, and if it weren't for the few truly crucial moments (like when Alpha and the main villain punched each other, or when the Deus ex machina appears with a really big rotary in his hand), you probably give up on it. After the noisy and senseless rampage, all that is left on the living room floor is a big mess, which no one seems o have much interest in cleaning up.
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Those magnificent men in their flying machines. The following review is packed with spoilers and is somewhat misleading, given that I have never once seen this film in a “normal” cinema (the first time in IMAX, where the film is bigger, louder and not very clear, and the second time in 4DX, which gives new meaning to the term “cinema of attractions” and thanks to which the film is clearer, as you orient yourself in the space not only by sound and abrupt cuts, but also based on your own movement). Furious 7 aroused in me a mixture of fascination and disgust at its masculine bombast. All of the women in the film boundlessly admire “their” perfect men, who represent an essential condition for their career growth (Elena and Hobbs), family happiness (Mia and Brian) or finding their own identity (Letty and Dom). The men make all of the decisions and advise the women on what they should do to achieve contentment. The women obey them and are willing to die for them. The female characters are either confused and indecisive (Letty), reconciled to the role of wife and mother (Mia), somewhat hysterical (Ramsey) or aggressively masculine (Kara). Beautiful female bodies are exhibited as objects to be admired, which is most apparent in the case of Ramsey, who in the climax is transformed into a “hot potato”, i.e. bait for the bad guys (in the interest of objectivity, however, it is necessary to add that her hacking skills are also necessary for the execution of the plan). ___ The film’s creators don’t subvert the basic division of gender roles, as they still make it quite clear that they know how to create a surreal universe and spend the whole time treading the line between cool action badassery for real men, in which close-ups of perfectly shaped female derrieres serve solely for the pleasure of the male eye, and a self-aware parody of genre conventions, in which a slow-motion shot of a sexy female hacker emerging from the waves is followed by commentary on male voyeurism and “womanising”. In comparison with the previous films in the franchise, there is more of everything: scenes in which the film reflects (at least in the dialogue) the stupidity of the crew’s plans; the application of the “logic” that if using force is not an option, then use even more force; the childish joy of destroying precious things; superhuman strength; the indestructibility and endurance of the characters (breaking a cast by flexing biceps will be the scene of the year); product placement (a bucket full Coronas on ice); stylistic excesses (the clash between Statham and Diesel is like a duel between Olympian gods); and the hackneyed nature of the archetypes that the film works with (the alpha male, the sexy hacker). Furious 7 thus puts you in the position of someone who doesn’t understand the exaggeration if you don’t ridicule the film’s silliness. ___ For understandable reasons, the film loses its sense of detached humour in most of the non-action scenes with Paul Walker. However, they are also thought-provoking in the context of masculine melodrama (see westerns and the films of Jean-Pierre Melville and John Woo), placing heterosexual male interpersonal bonds at least on the same level as the love of a woman. The narrative structure is particularly problematic, though not in an inspiring way. Statham wants to take down the gang around Dom from the start, yet the plot is built on the team’s efforts to track down and capture the main villain. Mr. Nobody’s isn’t of much help in the end, except to delay the final destruction of L.A. and give Kurt Russell the opportunity to shoot with both hands. The positive characters don’t even manage to catch Statham off guard, which is apparently what Mr. Nobody was supposed to help with. However, he locates them without the help of the God’s Eye and surprises them three times. The episodic dramaturgy of “action scene A leads to action scene B, action scene B leads to action scene C, action scene C leads to action scene D” is tediously monotonous and indicates screenwriting laziness rather than an attempt to give the narrative a certain rhythm. On the other hand, we don’t have to rack our brains over how B connects with D (because that’s immediately obvious) or whether C will be followed by a return to A (at one point, the film even plays around with its straightforwardness when, to the strains of ominous music during the handover of the God’s Eye, it insinuates that Mr. Nobody might be a traitor), and we can enjoy the rapid sequence of the offered attractions, which are tied together by the fact that they negate Brian’s warning at the beginning of the film – “cars don’t fly”. Furious 7 is a film that’s proud of the fact that cars fly in it all the time. 75%
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(moins)
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You would not resist falling in love with it if the movie had been more (much more) self-conscious as it was in the Rock or Statham scenes. In this way it is an unprecedented “over the guilty pleasure top" soap opera action movie with over-the top story line, which despite having an ultimate testosterone cast is lame, because instead of these guys punching each other all the time, the computers animating their CGI doubles in flying cars in many different ways are applied. And it is captures by a shaking camera, where the overall confusing chaos is multiplied by the epilepsy-inducing editing. Last time we saw such a waste of potential/cast was in... Well, actually sixth Fast and Furious. PS: Diesel will say "We are/I was a family" in different ways perhaps even more often than "I'm Groot" in the Guardians of the Galaxy.
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Annonces