guigui-paul

An honest, frank, moving and sometimes painful to watch documentary on this great underrated songwriter that was Adrian Borland. A beautiful, moving, haunting, passionate, pure voice, which sometimes evoked Jim Morrisson and Jim Kerr, and a gift for catchy lovely melodies. The Sound at the time should have been the equal of The Cure, U2, Joy Division, Simple Minds, Echo & The Bunnymen... but unfortunately fate decided otherwise. Borland's relatives recount his life, his personality in this beautiful documentary. For my part, I only discovered this band very late, in 2021, but in a very short time The Sound and its singer became some of my favorite musicians, there was a lot of emotion and beauty in their music, listen for example to their masterpiece FROM THE LION'S MOUTH and SHOCK OF DAYLIGHT, the electrifying and legendary live album IN THE HOTHOUSE, and the magnificent songs "Winning", "Silent air", "Total recall", "You've got a way", "Longest days", "A new way of life", "Where the love is"... Adrian Borland deserved to be as recognized as Robert Smith or Ian Curtis during his lifetime. A recommended, heartbreaking documentary.

Despite a decent cast and a few captivating moments in the last part, a return to the 2015 horror that too often lacks embodiment and stays on the surface, with the script lacking any ideas, thematics. Shame. The director was maybe afraid of hurting, of being indecent, of creating controversy with regard to the government perhaps, but the problem is that his film does not bring anything new compared to what we know. Through the medias of the time. What is the real point of describing this hunt for terrorists when we already know the events? Unfortunately, the script sounds pretty hollow. The big film on the subject with its possible implications (economic, political, etc.) remains to be made. Imagine what the Yves Boisset of the 1970s and early 80's could have done with this hot topic...

A minor commissioned film, modest, short and dry, the production of which was apparently complicated. Argento, who is not at the origin of the project, apparently did not have the "final cut" of GIALLO and there were conflicts with a part of the production (casting and crew paid very little or not, it is even said that there was a strike on the set) It probably lacks the scale and the passion associated with the director's best thrillers, and if the irredeemable character of the policeman Enzo and his degenerate double played by Adrien Brody have potential the result struggles to totally enthuse because of an uneven script. Despite everything, there are still a few small remnants of the Maestro's signature: the opening 15/20 minutes, the flashback scenes on Enzo's childhood, Céline's attempt to escape and a rather unexpected ending, between darkness and light irony. A bit of a disappointment compared to the expectations it could initially raise, but still remains a watchable little thriller, worth a little more than its poor reputation. A minor Argento is still interesting, whatever the critics who have been slamming each of his films for 40 years say!