dimanche 18 mai 2014

'Maps To The Stars' Round-Up of Medias' Reviews

'Maps To The Stars': Tour d'Horizon de l'Avis des Médias sur le Film




@robbiereviews: Well, Maps to the Stars is *incredible*. #Cannes2014
@XanBrooks Maps to the Stars paints heady portrait of a ghastly, corrupted Hollywood tide-pool. Julianne Moore the standout in on-form cast #cannes2014
@catherinebray I adored the dark Hollywood satire of Cronenberg's Maps To The Stars. So funny, and with brilliant perfs, especially Evan Bird. #Cannes2014
@foundasonfilm: Life as an endless series of remakes: Cronenberg's MAPS TO THE STARS is a wickedly smart Hollywood satire with a serrated edge. #cannes
@HelenFaradji: Cruel, glacial, passionnant. Un grand Cronenberg #MapsToTheStars #Cannes2014
@stevepond: Who knew we needed Cronenberg doing The Player meets Carrie? Maps to the Stars is hellacious fun.
@mmiedl: MAPS TO THE STARS? yes, exactly as bat-shit crazy as I imagined. #Cannes2014
@mmiedl: actually MAPS TO THE STARS is something like a linearly told Lynch film, if that is conceivable #Cannes2014
@heavier_things: Maps to the Stars: brilliant, biting satire from Cronenberg. Laughed all the way through. Perfect casting. Really dug this one. #Cannes2014
@AwardsDaily: Maps to the stars is twisted, creepy, brilliant. I fucking loved it. In tradition of Dead Ringers...
@catherinebray: A couple of Pattinson fans have asked, so: he's not in Maps to the Stars that much, but is good when he is. Has two love interests.
@catherinebray: If I was in change of the Palme d'Or, I'd give it to Cronenberg. Maps to the Stars review for @Film4 here http://blog.film4.com/cannes-review-maps-to-the-stars/  #cannes2014
@totalfilm: Cronenberg’s Maps to the Stars is a deliciously warped satire of Hollywood’s debauched excesses. A bit mad and a bit brilliant. #Cannes
@jessewente: Congrats to David C, @martinfkatz and the whole MAPS TO THE STARS team. I laughed, I gasped, I laughed again! #Cannes
@SophiaBonnet: Again, David Cronenberg brings something flawless #Cannes2014. You will be surprised #mapstothestars
@_Winter_wind: Wasikowska is very neurotic, Moore is totally insane, Cusack is a mess and Robert Pattinson very little to be seen but actually v insane
@_ann_lee: Maps to the Stars: Razor sharp satire on Hollywood's corroding power. Just hilarious. Bitchy Moore a sensation. My fav of #Cannes2014 so far
@nicholasbell84: Julianne Moore=scuzzy L.A. perfection in Maps to the Stars. Steals every scene.
@SamuelAAdams: MAPS TO THE STARS is loved in some corners, polarizing overall. So, a David Cronenberg movie.

 Plus d'avis de médias français et anglais après la coupure / Lots more reviews after the cut





Via Le Passeur Critique:
Plusieurs personnages se croisent à Hollywood. Une actrice vieillissante qui voit sa carrière faner, un écrivain à succès et coach de célébrités, un enfant star de 13 ans totalement imbu de sa personne, une jeune fille qui débarque à Hollywood, un chauffeur de limousine qui voudrait être acteur. D'une manière ou d'une autre tous ses personnages sont connectés comme les étoiles qui forment les constellations.

Hollywood Night
Quand on a lu que David Cronenberg réalisait un film sur Hollywood il était facile d'imaginer la charge évidente et cynique contre la vacuité de la célébrit, de l'argent et sur la décadence de la cité du cinéma. Un film comme The Canyons de Paul Schrader sorti récemment par exemple. Sauf que dans les mains de David Cronenberg ce projet ne ressemble absolument à rien de ce qu'on pouvait imaginer. Bien évidemment on retrouve une certaine verve ironique envers ces personnages d'acteurs qui sont prêts à tout pour se raccrocher à leur célébrité, qui se réjouiront de la mort de quiconque leur permettra de briller un peu plus longtemps sur le grand écran. Mais avant tout Maps to the Stars est quelque chose d'autre. Une comédie noire évidemment mais aussi et surtout autre chose, quelque chose de profondément unique.

J'écris ton nom
Il y a dans Maps to the Stars un poème qui est répété plusieurs fois. Ce poème c'est "Liberté" de Paul Eluard. Un poème relativement célèbre pour le public français dont la présence dans un film ayant pour sujet Hollywood est assez surprenante. Cependant on comprend très vite de quoi il retourne. Ce poème représente tout ce que ces personnages ont perdu. « Liberté j'écris ton nom » nous répète Paul Eluard. Mais cette liberté est justement l'élement essentiel qui manque à ces personnages. Tous leurs choix de vie, leurs quotidiens, leurs personnalités sont privés de cette liberté pourtant essentiel à l'homme. Si Paul Eluard a écrit ce poème en 1942 pendant la seconde guerre mondiale, les personnages de Maps to the Stars livrent également une guerre. Une guerre envers eux-mêmes, une guerre qui les éloigne chaque jour un peu plus de qui ils sont vraiment. Qui sont-ils d'ailleurs ces personnages ? On ne les connaîtra pas. De l'intérieur s'entend. En plus de la présence de ce poème, Maps to the Stars fait appel à la mythologie, à la cosmogonie, à la tragédie, au fantastique. Il est quelque chose que personne ne pouvait soupçonner. Une œuvre protéiforme enthousiasmante et mystérieuse qui ne cesse de se découvrir comme un artichaut pour en découvrir un cœur coulant noir comme la mort. Au départ un personnage arrive à Los Angeles et lorsqu'on lui demande d'où il vient il répond : « Jupiter, Florida ». C'est cela Maps of the Stars, des personnages qui viennent d'ailleurs, qui semblent toujours dans un décalage permanent et aliéné par rapport à la réalité (la star de 13 ans et son physique étrange d'adulte/enfant).

Unique et protéiforme
Il y aurait beaucoup à dire sur le film. Sur son étrangeté constante, sur ses ruptures de ton, sur son aspect aussi grotesque que bouleversant. Cependant on est devant un film qui ne se révélera jamais totalement, qui ne livrera pas ses secrets à l'aune d'un symbolisme quelconque. Il faut juste le prendre tel qu'il est. L'oeuvre d'un grand cinéaste en pleine possession de ses moyens qui parvient une fois de plus à renouveler son cinéma dans une évolution qui paraît presque logique tendant vers David Lynch auquel on pense beaucoup. C'est par ailleurs sans doute le plus grand film sur le mythe d'Hollywood depuis Mullholand Drive. On est face à une œuvre qui recèle encore de nombreux secrets, comme en premier lieu ce mystérieux scénariste à qui le film doit énormément, Bruce Wagner, scénariste entre autres de Freddy 3. La mise en scène de David Cronenberg est très froide, un peu en retrait, presque plate mais elle s'adapte finalement parfaitement à cette sensation de voir une épaisse couche de vernis sous laquelle il faut creuser quitte à se casser les ongles pour en découvrir la substantifique moelle. Et depuis la vision on creuse, on creuse et on n'a pas encore atteint le fond et espérons ne jamais l'atteindre subjugués que nous sommes par la beauté de chacune des couches qui se révèlent sous nos doigts.

Via Allociné:
5 bonnes raisons de voir le film:
Pour le regard féroce et sans concession de Cronenberg sur le monde "merveilleux" d'Hollywood. Fascinant et... accablant.
On ne la pensait plus capable de le faire... Julianne Moore repousse ses limites, toutes ses limites, une nouvelle fois. Une performance dérangeante, à ranger parmi ses plus grandes interprétations (Magnolia, Loin du paradis, Safe...)
Parce qu'au coeur du film se trouve un poème de Paul Eluard, "Liberté", déclamé à plusieurs reprises par certains personnages. Cette oeuvre donne tout son sens vénéneux au long-métrage. Ce n'est d'ailleurs pas un hasard si Cronenberg a déclaré qu'à Hollywood "la gloire est la vraie liberté" (Lire le secret de tournage "Poésie").
Pas encore convaincus par Robert Pattinson ? La saga Twilight lui colle encore trop à la peau ? Avec "Maps to the Stars", il l'arrache définitivement.
Via Melty:
Le vernis d’Hollywood est plus craquelé que jamais dans Maps To The Stars. Incestueux et monstrueux voilà le monde du cinéma que dépeint Cronenberg. La très mordante satire d’Hollywood qu’il propose rend son film drôle même si la convocation des spectres du passé fait très vite planer une ambiance inquiétante. Pendant deux heures on assiste à un superbe jeu de massacre où les personnages se révèlent plus dérangés les uns que les autres. Ainsi, en incarnant une actrice en perte de vitesse dévorée par ses traumas et vivant dans l’ombre du souvenir de sa mère, Julianne Moore donne le meilleur d’elle-même dans une partition tout sauf glamour. Tour à tour hystérique, égoïste et cruelle, l’actrice pourrait bien décrocher un prix d’interprétation avec ce rôle en or.
Mia Wasikowska compose quant à elle un superbe ange exterminateur, comme un prolongement du rôle de vampire insouciante qu’elle tenait dans Only Lovers Left Alive de Jim Jarmush et qui venait perturber le couple Adam&Eve. Les brûlures qui lui couvrent une partie du visage ne sont que le signe annonciateur de l’incendie qui va se propager dans la petite communauté hollywoodienne que filme Cronenberg. Malgré l’opulence, les millions ne permettent pas à se racheter une conscience ou une âme. Alors que les personnages étouffent sous la puanteur de leurs actes, seul le fameux poème de Paul Eluard « Liberté » vient donner une respiration, voir un espoir de rédemption mais à quel prix ? Pour le découvrir, on vous invite donc à aller voir Maps to the stars, en salle partout en France

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His Cannes entry, “Maps to the Stars,” returns in a way to territory Cronenberg explored in “Dead Ringers,” and it's probably the director's best film in at least a decade. Here, working with the talented literary satirist of Hollywood culture, Bruce Wagner, Cronenberg has hit his stride in a big way. He nails our celebrity-obsessed culture, and the sickness it breeds, right to the wall  (...) Cusack is appropriately creepy as the father, and Williams is solid. To say any more about them is really to spoil things. Robert Pattinson has a small part, but gets a love scene, of course, to satisfy his fans. Pattinson and Cronenberg are developing a nice collaboration, however, and here's to hoping we get to see more from the two of them.

From The Playlist:

The director's also been gifted a cracking cast for the material. Before you ask: no, Robert Pattinson isn't in it all that much (his role could argue be lifted from the film without too much problem), but yes, he's pretty good in it. Plus you get to see him as a sort of glam-rock version of Khan from "Star Trek," so there's that. Olivia Williams' role is similarly underwritten, but she does find new texture to the kind of ice maiden that she's riffed on before. (...) But on the whole, the film is a sickly enjoyable wallow in the scandalous, fucked-up side of showbusiness, and a real return to form for the filmmaker. If nothing else, it'll rid you of any last desire to go on an actual LA star tour, and that alone is something to be thankful for.

From Telegraph: (5 stars)

Jerome, a chauffeur and would-be actor winningly played by Robert Pattinson. (...) My instant reaction, after stumbling, open-mouthed, from the cinema, was a pathological need to stumble back in again. There’s so much in this seething cauldron of a film, so many film-industry neuroses exposed and horrors nested within horrors, that one viewing is too much, and not nearly enough. Cronenberg has made a film that you want to unsee – and then see and unsee again.

From The Guardian: (4 stars)

Maps to the Stars is a tense and scary movie, unwholesome in the hold that it has on the audience. Perhaps, in the end, it is too extravagantly cynical to be entirely truthful about Hollywood and LA, but it has a Jacobean power, the kind of thing that John Webster or Thomas Middleton and William Rowley might write if they were living in the 21st century: a claustrophobic nightmare of despair

From Film 4:

Maps To The Stars is a film having plenty of fun with the notion of Hollywood dynasties and the processes by which success is achieved and cemented – who knows whom, who’s seeing whom, who hates whom: all the invisible, untraceable connections that bind Hollywood together. The joke is that there is no map to these stars, and without an innate sense of direction you’ll soon be lost. Hollywood is often decried as incestuous, and this film plays that idea to the hilt, with the product of incestuous breeding even more troubled and egotistical than the generation before that. - See more at: http://blog.film4.com/cannes-review-maps-to-the-stars/#sthash.C9PmSbTq.dpuf

From Little White Lies:

True to style, David Cronenberg's Maps to the Stars is a work of cinematic fusion. Like the weeping vagina hidden underneath Marylin Burns' armpit, here we have a bracingly blasé investigation into unmentionable family taboos which has been forcibly integrated onto the body of a noxious (and not wholly convincing) La La Land burlesque. There are no waspish one-liners or ironic rib-nudges here — this is a punk jeremiad which rams your face into the constipated asshole of Hollywood. The thrill of watching the film comes from attempting to locate the strained sinews where these two strange sides converge — or, as the film would have it, finding "the flesh that says yes".

From Twitch Film:

Julianne Moore's raw power is on display, but the Blanche DuBois act feels equally wrought. Mia Wasikowska and Robert Pattinson are perfectly fine. Newcomer Evan Bird can spout "Jew cunt" as written on the page and come across as douchey when called for, but his venom comes across more as school-bully than truly demonic child actor.

From Time Out London:

The story is wild, but it’s dragged through the rough patches, when satire rubs up against exaggeration, by three killer performances from Waskikowska, Moore and newcomer Bird. Cronenberg’s direction feels at home in a world of soulless homes and offices, clubs at night and flash cars. He locates a deeply sick spirit in his tale and explores it through far-fetched fiction told with deadly seriousness, also adding a dose of baroque to proceedings and a streak of wicked humour. ‘Maps of the Stars’ offers some ludicrous moments and a fair few bum notes, but we’re still left with a troubling sense of infected bloodlines, sick Hollywood genes and a world any sane person would run a mile from.

From Indiewire:

The cast synchs with the material by exuding its wicked extremes. Moore's icky performance marks her best work since "Magnolia," and Wasikowska's eerie disdain for the older competition allows her to make a welcome shift into creepier material. Cusack's usual deadpan delivery gets a fresh kick from his character's contemptible eccentricities. Bird, to date best known for his role on "The Killing," nicely inhabits the child actor mold by radiating privilege in every line.
Only Pattinson, in a handful of scenes, is underutilized—yet the new context of his celebrity in this anti-celebrity project marks one more satisfying ingredient in Cronenberg's subversive mixture. "Maps to the Stars" is like a poetic dissection of familiar ingredients that zeroes in on its worst offenders. Every major plot point, from Havana struggling to land a role playing her own mother to Agatha seeking to reenact a perverted incident from her parents' past, underscores the impression of Hollywood's redundant tendencies enveloped in an eternal downward cycle.

From Movie City News:

Because Wagner’s script calls for actors to do and say depraved things with a straight face, the film couldn’t have been made—in this current form, anyway—without Cronenberg’s history of directing violence and dissecting the psycho-bizarre. Every player, especially Julianne Moore, surprises with their eagerness to go with the flow of debauchery. Mia Wasikowska is crazier here than she was in Stoker, and that’s saying something. Robert Pattinson, Cronenberg’s oddly appropriate muse, no longer needs to prove his authenticity as a proper actor. Finally, we need to see more of Evan Bird, witnessed here in his breakout role as a hilarious asshole narcissist. To be sure, Cronenberg’s navigation combined with Wagner’s pen (“it’s a fucking art film!”) make Maps to the Stars both a standout of Cannes 2014, and the best film the director has made since 2005.

From Variety:

“Maps” is the most overtly comedic screenplay Cronenberg has ever directed, but he hasn’t tailored his lensing or editing style to fit. The laughs come anyway, although some of Wagner’s funniest moments are left to languish, including an astoundingly inappropriate scene in which Havana celebrates the tragedy that forces a rival actress to resign from the role she’d coveted. If anything, Cronenberg has introduced a level of uncertainty as to whether it’s even appropriate to laugh when, say, Dr. Weiss starts punching his daughter in the stomach or Benjie strangles his young Ron Howard-like co-star — and the mayhem only escalates from there.

From The Film Stage:

Benjie, Agatha, and Havana make up the central narrative dynamic of Maps to the Stars, as Wagner’s script gets into the incestuous world of Hollywood’s sequels and remakes through, well, literal incest. The dull metaphor worked out here does mutate and become more and more strange—preemptions of the dead, Paul Eluard’s resistance poem Liberté, and many fires and eventual blood—that bring the film out of its broad strokes of pill popping and the private-public blend. And Cronenberg certainly shows his constrict control of tone: a shot reverse shot conversation is always given very subtle touches in his direction under Peter Suschitzky’s intensely white color palette; they’re rarely shot equidistant from each other, the camera always slanted to give one character just a sly bit of power. Howard Shore’s futuristic tones carry a hypnotic power that carries the film through its obsession with destiny.

From Standard UK:

Maps to the Stars begins as blistering comedy, like a more extreme version of Curb Your Enthusiasm, with a touch of The Bling Ring thrown in, but it soon morphs into a different kind of film, the dead returning in hallucination. Bruce Wagner’s script takes a fantasy turn that perhaps doesn’t make other than imaginative sense — but this is a funny, hypnotically nasty movie that goes further than anything before in treating Hollywood as a sickness.

From Hollywood Elsewhere:

Maps really cuts to the rancid bone of Hollywood fuckwad culture in a mad-brushstroke way. I think…no, I know it’s Cronenberg’s best since A History of Violence or Spider, and before that Crash, Dead Ringers and The Dead Zone. Julianne Moore owns it pretty much as a nearly over-the-hill actress who’s desperate to stay in the game, but everyone else is on the same page here — John Cusack, Mia Wasikowska, Olivia Williams, Robert Pattinson (yes, he’s on the stick), Sarah Gadon and the afore-mentioned Bird. They all get what’s going on, and it’s all quite perfect and complete

From Roger Ebert:

"Maps to the Stars" is "Mullholland Dr." on a different type of acid: unlike David Lynch’s eerie vision of Hollywood as a nightmare glazed in sunshine, this Bruce Wagner-scripted satire positions Tinseltown as the most coveted insane asylum on the planet (not to mention a village of the damned, which it has remained at least since Billy Wilder’s "Sunset Blvd."). The interlocking constellations of characters—played by the appropriately stellar ensemble of Julianne Moore, John Cusack, Mia Wasikowska, Robert Pattinson, Olivia Williams and the newcomer Evan Bird—all revolve around the idea of childhood: variously lost, corrupted, belated or revived. John Cusack’s new-age therapist helps others to locate their "magical child", and the characters are regularly visited by specters of dead kids (all craving a strange union that the living perpetually deny them).

From Independent UK:

Pattinson (in his second film with Cronenberg after Cosmopolis) brings a sly humour to his role as the young actor on the make, genial but as much on the make as anyone else. Wasikowska is wonderfully detached and calm as the angel of destruction.

From Way to Indie:

As ever with Cronenberg though, the acting is there as moral support to the more crucial element of theme and screenplay. The corruption depicted in this degenerative society is probably as far from the actual truth as the mention of a real-life celebrity is in the film (they’re mentioned a lot.) The razor-sharp screenplay is its biggest weapon, but it tends to cut too deep at times with certain lines bordering on cliche. Fans of the post-Spder Cronenberg will, I believe, devour every surreal and entertaining moment of Maps To The Stars. For my tastes, the dark humor and the intelligent weaving of violence, fame, and star-mania is enough to make me appreciate it and call it the best film Cronenberg has made since Eastern Promises. The themes of incest, and some of the characters’ fates (not Julianne Moore’s though, that was fantastic) went over the top and made the nightmarish atmosphere too lucid for its own good. All in all though, great fun, and an invigorating addition to Cronenberg’s offbeat filmography.

English reviews via RPlife


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