Blade Runner 2049, Raoul Taburin, Spider-Man Far From Home… Online movies to watch, or not, this week

During this health crisis and as long as the cinemas remain closed, The Figaro offers you every Wednesday a selection of films available on streaming platforms or on VOD.

To have

Blade Runner 2049, an auteur film in the land of blockbusters

This sequel to the Ridley Scott classic – which is set 30 years after the original – works like an initiatory journey. Ryan Gosling embodies with great restraint and a certain power of evocation a Blade Runner always charged with “remove“(A mild euphemism to say”killThe Replicants of the Nexus generation, who returned from the space colonies to blend in with the Terrans. Gosling carries the film on his shoulders. The quest he undertakes is both a search for lost time and a hunt for identity. The first film retained a background of melancholy, poetry and even a Baudelairean spleen, which went well with its philosophical questions: is reality what it claims to be? What makes us human? In the first film, the Replicants are called “human mouths“; in Blade Runner 2049, they are treated like modern slaves. Formally, Villeneuve’s film is breathtakingly beautiful. He advances with the calculated slowness of a Tarkovsky film, between Stalker and Solaris, sometimes giving the impression of throwing into oblivion the necessities of contemporary Hollywood cinema, its speed, its explosive action scenes.

Available on Netflix

Raoul Taburin has a secret, a bicycle

It is the story of a little boy who grew up without having managed to ride a bicycle. A kid cycle merchant in Saint-Céron, knowledgeable about how to refurbish any “biclou», Unbeatable on ball bearings, pinions, inner tubes, and other balloon or tubular tires… With his accomplice and friend Édouard Baer, ​​who plays the photographer Hervé Figougne, Benoît Poelvoorde keeps the film from start to finish. He bursts the screen and manages to faithfully transcribe the universe of Jean-Jacques Sempé. Between laughter, grace and emotion, the sensitive adaptation of Sempé’s graphic novel by Pierre Godeau looks like a fine bubble of happiness. Light, timeless, iridescent with a thousand and one colors, this “Taburin bubble»Takes the sometimes steep paths of eternal France, sunny and marked by the Thirty Glorious Years. All of this could have been treated with a tone that was too childish, clumsy, even silly. It is not so. This comedy runs like a dancer like Eddy Merckx on the roads of the Tour. The film lasts 1 hour 30 minutes. A real feat of accuracy, in these times of hourly inflation, when feature films are bloated from wanting to show too much, to say too much.

Available on MyCanal

You can see

Liam Gallagher: As It Was, Don’t Comeback in Anger

This new British documentary, by Gavin Fitzgerald and Charlie Lightening, focuses on the years during which Liam Gallagher was forced to reinvent himself. “I do this for the music, not for the fame or the money“, He explains in a sequence of 2017. However, it took him a few years to regain his rock star status. If the title of the movie is a bit of an exaggeration (The Biggest Come-Back in rock and roll history, really?) Liam Gallagher’s resurrection is pretty spectacular. “I couldn’t see myself doing anything else”, repeats the singer that we never imagined opening a pizzeria after having surveyed the biggest stages in the world with Oasis. Angry to death with his eldest son he has not seen since 2009, Gallagher junior went through a deep personal crisis before bouncing back, especially through a painful divorce. Unable to remain inactive, he signed his return with Bold, one of the rare songs of his composition, which has gone viral on the internet. Very quickly, this earned him a recording contract under his only name, supported by a collaborator, Debbie, who became his companion and his greatest support, along with that of his mother, Margaret. If the documentary multiplies the agreed scenes, in studio as on stage, it contains beautiful moments, in particular those in which the prodigal son goes to her home. “I don’t come as much as I would likeHe said. “When I’m no longer there, it’ll be too late»His mother replies.

Available on Arte.tv and YouTube

Spider-Man: Far From Home , the “nice little Spider of the neighborhood”

With Far From Home, Jon Watts continues the initiatory arc of the most popular of the superheroes of the “house of ideas»And thus concludes phase III of the Marvel Cinematic Universe (MCU). This time Peter Parker is leaving far from those expensive New York buildings. During a summer school trip, he will discover the major European cities, in particular Venice, Prague and London. After the epic – and tragic – events he experienced in Avengers: Endgame, the young high school student aspires to only one thing: to forget the planetary dimension of his superhero mission to take an unforgettable class trip with the woman he is secretly in love with, Mary-Jane Watson (Zendaya). The contrast is great between the hopping and pop entry of this part, which takes up the playful tone of a film for teenagers, and the tragic events that took place duringAvengers: Endgame, where Spidey defended the planet against the terrifying Thanos, a titanic fight in which his mentor Tony Stark-Iron Man (Robert Downey Jr.) had to sacrifice himself. In Far From Home, Spider-Man finds himself somehow orphaned again. It is between these two crest lines that the Webweaver will have to play the tightrope walker. On the one hand, the “teen-movie»À la John Hughes (Breakfast Club, La Folle Journée by Ferris Bueller) and on the other the “nice little spider from the neighborhood»Faced with threats that go well beyond its powers.

Available on MyCanal

To avoid

The fifth power, the (bad) biopic on Julian Assange

You have to know computer skills. Unless you are a seasoned hacker, we risk getting lost in this biopic of Julian Assange, the albino who revealed on the Web the underside of American politics. WikiLeaks, remember? This gifted, raised in a sect, did not hesitate to violate the secrecy-defense. Apparently, revealing the identity of his sources didn’t bother him. This kind of little genius is not afraid to get rid of his oldest buddies in a second. Zuckerberg did this also in The Social Network. But it’s not David Fincher who wants. Bill Condon suffers from the comparison with his predecessor. He films this story with big clogs, multiplies the significant flashbacks, confuses rhythm and agitation. Obviously, he did not find the password for us to be passionate about this story. The lead actor rolls his eyes and pulls his wick back into place.

Available on Amazon Prime Video from April 16


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