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World Premiere Of 'Children Of The Light' - Arrivals

Robert Hossein - World premiere of 'Children of the Light' held at the Grimaldi Forum - Arrivals - Monte Carlo, Monaco - Sunday 8th June 2014

Robert Hossein
Robert Hossein

Les Uns Et Les Autres Review

I love classical music, sure, but does Claude Lelouch's glorified music video really need three hours to tell its "story?" This disjointed, incoherent mess features long stretches of music and dancing (recalls Thriller), with little tidbits of narrative plot (spanning three generations during the first half of the 20th century) to hold it all together. Er, or not.

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Don Juan (Or If Don Juan Were A Woman) Review

So what if Don Juan were a woman? I'm not sure if she would behave something like Brigitte Bardot's 1973 rendition of the famed lover, but it's considerably fun to watch her strut her stuff.

In Roger Vadim's interpretation of the Latin lover, Jeanne (Bardot) eats men for breakfast, lunch, and dinner. She takes a married politician and immediately ruins him by having him photographed at one of her orgies. She uses a hapless folk singer for sex and then leaves, prompting him to slice his wrists and bleed to death while strumming his guitar. She even extends her wiles to corrupting women, luring the innocent wife of a grotesquely self-absorbed businessman into the sack, then turning the tables on both members of the couple.

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Rififi Review

When a movie begins with a con being freed from jail, you know one of two things will happen: Either he'll be called in to help the hapless police solve an impossible crime that's had them baffled for months, or he'll be tempted by one final heist, a perfect job that will let him retire a wealthy man.

Rififi, a French film originally released in 1955 as Du rififi chez les hommes, is a film noir. Which means, of course, we're going to get the heist.

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Venus Beauty Institute Review

A movie that centers around the workplace can end up feeling like a sitcom. You have a couple of principal characters whose lives are examined, and a small cast of others that are thrown in to add pizazz to the storytelling. This may work in a well-written 22-minute TV show, but in Venus Beauty Institute it results in a film that eventually loses its focus, trying to rely on passion that just ain't that passionate.

Pity poor Angèle (Nathalie Baye). She toils away at the titular French beauty salon during the day, and looks for quick sexual encounters at night. In her 40s, she feels too burned by the loves in her past to get hurt again, and instead finds her happiness in hunting down men with whom to have trysts. Early in the film, she quickly approaches a stranger in a cafeteria, tactlessly luring him away from dinner so they can do it in his car. We get the feeling that she wants more -- a funny opening sequence where she gets dumped helps -- but she's too headstrong for that.

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