NEWSPAPER – The biopic on the fate of Joey Starr and Kool Shen signed Audrey Estrougo impresses especially by the performance of Théo Christine and Sandor Funtek.
On the menu of biopics that are released in theaters throughout the years, it is the turn of NTM and the story of these two members, Joey Starr and Kool Shen, to appear on the big screen. Directed by Audrey Estrougo, Supreme follows the story of one of the most influential rap groups of its time, from its beginnings in a nervous but culturally seething Seine-Saint-Denis, to the first concert at the Zénith in Paris, in 1992.
A feature film well received by Le Figaro, who sees in this biopic a “energetic evocation of the rise of the pioneer group of rap in France, with two convincing actors.Olivier Nuc particularly appreciated the performance of the two main actors. “The live stages are by far the most successful, perfectly reflecting the electricity of NTM, a large stage group. The amateurism of the two leaders is touching, like the patience of those around them. The two actors who play Kool Shen and JoeyStarr are very convincing. (…) An ultimately sensitive evocation of a period that belongs to history.“
Between live energy and societal dimension
The press as a whole cannot agree on the merits of the film. The Obs delivers a relatively lukewarm review. “In the musical biopic genre, it’s a good job. The story gives pride of place to JoeyStarr (who oversaw the script), stage beast, valve machine gun and unmanageable rock star that only the ambitious Kool Shen knows how to reframe. The young actors are wonderful, the group’s chaotic dynamic and the energy of the concerts well recreated.But the effectiveness does not manage to forget the many flaws of the film. “Downsides? The Pavlovian writing of JoeyStarr’s painful relationship with his tyrannical father (each father-son confrontation is followed by a shoot scene) and the societal dimension, rather summary, after a judicious opening on a speech by François Mitterrand on the state of the suburbs still relevant», Considers Nicolas Schaller.
In the same vein, Release salutes Audrey Estrougo’s feature film, without being dithyrambic. “For the narrative eccentricities and the key to the myth, we will go over: Supreme is a perfectly straight film, from sluggishness to glory, including road exits and great acceleration, full of acrobatic shortcuts and, inevitably, exhausting shots – for pity, that we stop once and for all with the songwriting scenes are ridiculous.“Faults far from being crippling for Lelo Jimmy Batista. “And it works. Not madly, not dizzyingly, but it works. Thanks, essentially, to an infectious energy, based on a repetitive but effective pattern – headaches / brawls / concerts, sometimes out of order, sometimes all three at the same time. “
For his part, The world lingers on the director’s bias to focus on the social reality in which the two rappers grew up. “What the film documents very well is the way in which the emergence of the group goes hand in hand with that of a political conscience: that of a rap becoming both a way of becoming aware of oneself and of finally exist in the eyes of a society. Rather than talking about political consciousness, we should talk more about energy, which seems to be the real subject of Audrey Estrougo, less anxious to fetishize an era than to follow in the footsteps of the collective fever which is about to contaminate the whole world. youth of a country and which she captures superbly in all concert stages. “
The Inrockuptible speaks of a “good surprise, and yet not really by a search for singularity, for an author’s “touch”, but rather for the quality of its execution, for a tangible requirement that allows Estrougo to make a product that is certainly formatted (scrupulous respect for the chronology , dissemination of period signals, essential scenes of the specifications of the musical biopic: the film all the same seems to tick the boxes of a checklist), but very muscular and powerful in the key scenes that induces its format. “
Théo Christine and Sandor Funtek received unanimously … or almost
France Info qualifies the feature film as “Nervous and electrifying”, and highlights the performance of the two leading actors. “If Theo Christine honors the character he plays, a role poisoned as it is so difficult to interpret the pure charisma, and if the film dwells a little too much on the personal concerns of JoeyStarr, it is nevertheless of Sandor Funtek whose we will remember for the longest time. His performance in the skin of Kool Shen is remarkable in terms of accuracy and human depth. Intense and yet all in restraint, he does justice to the most discreet and demanding Bruno Lopes, too often eclipsed by his sidekick. In the end, it’s him that we fall in love with. Star seed, between Reda Khateb and Tahar RahimEnthuses the public service channel.
The two actors are described as“dazzling” through 20 minutes , who notices “A galvanizing impression that emerges at the end of this film which respectfully shares the work of NTM and the power of their finest titles such as The world of tomorrow. Beyond the musical tastes of each one, this energetic biopic proves to be fascinating for what it reveals about a group which imposed rap in France and opened the door to many other artists.“
Unlike the rest of the press, Point was not convinced by Theo Christine and Sandor Funtek’s performance.
“They overplay emotion, jaws well forward when they want to express anger, chin trembling in sadness, we too often come close to melodramatic soap” deplores the weekly, although “the creative dynamic between the two idle boys is well transcribed.“Clearly, a film”disappointing“, who “misses the mark“.
“A wet firecracker”
While most media report an effective but conventional film, some like Point are more acerbic. This is the case of The voice of the North : “The fault of Supreme appears on its credits: “Screenplay written with the collaboration of JoeyStarr and Kool Shen”. OK for the faithful and didactic illustration. Lacks a piercing and cheeky look at the genesis of the legendary French rap group NTM, composed of the two aforementioned “ regrets the daily life of Hauts de France.
Surely the most acidic criticism, the trade magazine First speaks of a “wet firecracker“, regretting “a very scholarly musical biopic, which blends all the imposed figures of the genre and refuses to choose a guideline, an angle that would give real meaning to the company, beyond the exercise of admiration and fan pleasure .»The monthly rents all the same “The energy, talent and investment of the two main players», But tance “The normative power of biopic-Wikipedia, and its depressing succession of checkboxes, which messes everything up.”
Supreme will soon have to stand the comparison with The world of tomorrow, a mini-series developed by Arte and also dedicated to the genesis of NTM, which will arrive on small screens in 2022.