NEWSPAPER – A “nice surprise”or even a “miracle”. Without equaling Steven Spielberg’s original trilogy, this new and ultimate part of the adventures of Indie seduces all the press or almost.
A little over a month before its release, Indiana Jones and the Dial of Destiny offered himself, Thursday, a Cannes premiere. The screening of the fifth part of the saga even provided the festival with the opportunity to wring a grateful smile from Harrison Ford, the eternal grumpy Hollywood distinguished that evening with a surprise honorary palme d’or. But what is the film worth? The memory of the previous adventure of the American archaeologist, Indiana Jones and the Kingdom of the Crystal Skull, could give the spectators of the Palais des Festivals some anxious shivers when the spotlights were switched on. The end of the session was fortunately marked by thunderous applause.
Perhaps because it was unexpected, the success of the new IIndiana Jones wrung comments bordering on ecstasy from the press. “Eureka!”title Olivier Delcroix for Le Figaro ; “crazy virtuosity”, mentions Luc Chessel’s criticism in Release ; while, on Twitter, Philippe Rouyer is delighted with a “big show” finally “grandiose and mischievous” and that we even saw Simon Rauxrifleman at Widescreendrop the words of “miracle” and of “mastery”. Also sated with this film feast, Renaud Baronian from Parisian applauds in turn – and finally blows. “It’s yes, a big yes of relief, following an absolute pleasure, top-of-the-range entertainment, a great cinematic adventure”. White smoke above Cannes.
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The secret of the recipe? His cook. Steven Spielberg, historical brigade leader of the saga, handed over control to another filmmaker for the first time. The Saucer Master James Mangoldsuperhero gravedigger Wolverine In Logan , put on the hat. The heir is up to it and “deploys a Spielbergian know-how”approves Christophe Caron, in The voice of the North . In his review for First François Léger is also delighted with the work of the director who “elegantly appropriates IndianaJonesbetween great spectacle and very clever modernization of the legend».
An astonishing point floats from the first returns of the fifth IndianaJones. Few lines linger on Harrison Ford’s digital rejuvenation in several sequences of the film. However, the technique had caused a lot of ink to flow with the resurrected Peter Cushing of RogueOne THE Robert de Niro exhilarated by The Irishman or the almost chubby Johnny Depp of the last Pirates of the Caribbean . As criticism is proverbially more generous in its inations than in its congratulations, one risks taking this silence for a resigned satisfaction.
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Expected at the turn, the rejuvenated version of Harrison Ford therefore seems to p the test of verisimilitude. This is not the case with all the special effects though – perhaps not quite finished yet. “We rub our eyes at the mediocrity of certain visual effects and digital backgrounds with blatant artificiality”erts Philippe Guedj of Point , yet rather convinced by the film. More diplomatic, Gilles Kerdreux d’West France delicately notes that “scenes on a green screen can be seen a little”.
The other stumbling block is the management of the abundant capital nostalgia carried by the saga. References and winks are legion. Words like “counterfeits”“self-quotation” And “copy” have been written. Clearly less enthusiastic than their French colleagues, Anglo-Saxon critics shamelessly compare this Dial of Destiny hated Crystal Skull Kingdom. Owen Gleiberman, of variety sigh thus from this “suite that serves up nostalgic rose water without the slightest thrill”. Richard Lawson of Vanity Fair grieves over the uniconic object of Indiana Jones’ quest. The American preferred the Ark of the Covenant of Moses and the Grail of Christ on the dial of Archimedes, “which simply does not have the same cultural weight”.
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James Mangold, however, manages to straddle his few wanderings and lead them towards a cinematographic object on the verge of extinction in Hollywood blockbusters: an idea. The one who crosses The Dial of Destiny is steeped in a particular melancholy, “that of memory, of the advantages and disadvantages of going back, or not, in time. In short, old age, vestige, old debris. A whole archeology»points out Luc Chessel for Release. For Fabrice Leclerc, of Paris Match the message is thus delivered with accuracy thanks to “the intelligence of a scenario that turns all expectations upside down”. This did not prevent several journalists from finding the time long. Allow two and a half hours to see The Dial of Destiny.
On the side of World , critics like to slow down and bite into a madeleine from time to time. So we pastiche Proust. This gives the following title: “Harrison Ford in Search of Lost Time”. Jacques Mandelbaum admits to being charmed by “the poetic motif of time travel”. He explains: “Harrison Ford becomes, before our eyes, the true relic of this ultimate story, a testimony to the past that is dear to us and that we treasure to prevent, as well, that this past is abolished in us.”