Samuel Le Bihan

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'Amour' Premiere During The 65th Annual Cannes Film Festival

Samuel Le Bihan and Cannes Film Festival - Samuel Le Bihan and Daniela Bihan Sunday 20th May 2012 'Amour' premiere during the 65th Annual Cannes Film Festival

Samuel Le Bihan and Cannes Film Festival
Samuel Le Bihan and Cannes Film Festival
Samuel Le Bihan and Cannes Film Festival

Mesrine: Public Enemy No 1 Review


Excellent
Picking up where Killer Instinct left off, this second part of the biopic has a 1970s style, with grittier edges and darker violence. But it takes the same anecdotal approach, never quite letting us in.

In 1973, rampant criminal Jacques Mesrine (Cassel) has finally been captured by the cops but stages a daring courtroom escape with the help of his pal Charlie (Lanvin). He's soon back to his bank-robbing, executive-kidnapping ways, taunting the tenacious detective Broussard (Gourmet) even when he's arrested.

In prison he concocts an elaborate escape with fellow inmate Besse (Amalric), and the two go on another brazen crime-spree, meeting Mesrine's next wife Sylvie (Sagnier) along the way. But as Mesrine adopts the politics of Germany's Baader-Meinhof gang, the cops are closing in.

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2009 Cannes International Film Festival - Day 12 - 'Coco Chanel & Igor Stravinsky' - Premiere

Samuel Le Bihan and Daniela Le Bihan - Samuel Le Bihan and Daniela Le Bihan Cannes, France - 2009 Cannes International Film Festival - Day 12 - 'Coco Chanel & Igor Stravinsky' - Premiere Sunday 24th May 2009

Samuel Le Bihan and Daniela Le Bihan

2009 Cannes International Film Festival - Day 10 - Premiere Of 'The Imaginarium Of Doctor Parn' - Arrivals

Samuel Le Bihan and Daniela Beye - Samuel Le Bihan and Daniela Beye Cannes, France - 2009 Cannes International Film Festival - Day 10 - Premiere of 'The Imaginarium of Doctor Parn' - Arrivals Friday 22nd May 2009

Samuel Le Bihan and Daniela Beye

Frontier(s) Review


Weak
As a horror movie, Xavier Gens' gruesome Frontier(s) is all mechanism and little flavor. As a mechanism, it throttles, slashes, upchucks, and goes through the whole sloppy mess all over again with an almost perverse glee. People are cooked and carved like Easter Sunday turkeys, melted down to liquid skin and bone and, just for kicks, bled like a prize hog while hanging upside down. Revolting as it all is, writer and director Gens has a problem, the very same problem Rob Zombie faced in House of 1,000 Corpses: an inability to give up the ghost of that all-too-familiar Texas massacre.

Four Muslim thieves flee a riot-ridden Paris with enough dough to retire at a Cannes beach house, leaving behind a comrade with a bullet in the lung thanks to some anxious cops. The comrade happened to be the brother of the gang leader's pregnant main squeeze, Yasmine (an intense Karina Testa) which leads to a very hostile drive out to the countryside. Two of the thieves happen upon a hotel run by a family of brutish pig farmers, one of which, Gilberte, suffers from something akin to hyper-nymphomania. One of the thieves nails said nympho while her brothers prepare the knives and slaughtering accessories, right as Yasmine and leader Alex (Aurelien Wiik) arrive at the hotel.

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He Loves Me, He Loves Me Not Review


Grim
Those of you enchanted by the cute title of this film, along with a poster featuring Amelie pixie Audrey Tautou's smiling face beaming out over a lush rose, stop right there. Hang up on Moviefone. Understand something before you shell out $20 for tickets and another $10 for snacks at the movie theater.

Your beloved Audrey is not starring in a sweet romantic comedy this time around.

Continue reading: He Loves Me, He Loves Me Not Review

The Brotherhood Of The Wolf Review


Terrible
Brutal. Ugly. Predictable. Boring. Stereotypical. Comical. Violent. Lethargic. Seven words to describe the hellish cinema experience of The Brotherhood of the Wolf. Alas, I forgot two more epitaphs: disappointing and plagiaristic.

The Brotherhood of the Wolf has all of the makings of a great French epic. Dashing leading men including Vincent Cassel (The Crimson Rivers), voluptuous women such as Emilie Dequenne and Monica Bellucci, a promising storyline packed full of complex, daunting elements of suspense and mystery, and impressive production values clearly evident in costuming and set design. The problem is that this film is about as French in style and execution as McDonald's French fries.

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Red (Trois Couleurs: Rouge) Review


Extraordinary
A satisfying conclusion to Krzysztof Kieslowski's spectacular Polish-French-Swiss Three Colors trilogy (with Blue and White), Red is like a French version of The Twilight Zone, following a young model named Valentine (Irène Jacob) through a series of hypnotic meetings with a retired judge (Jean-Louis Trintignant). A mystery unfolds as Valentine discovers the judge's penchant for eavesdropping on his neighbor's calls, which leads to all sorts of romantic mystery and tragedy as secrets are unwittingly revealed and lawsuits are filed. Not even the audience becomes fully aware of the intricacies of the picture until its fantastic conclusion.

Red stands as Kieslowski's most convoluted and difficult work of the series, exploring far more than the idea of "fraternity" suggested by the color and delving deep into symbolism and our notion of "coincidence." Jacob is wonderfully watchable in her most nuanced role ever, and Trintignant's crustiness is bizarrely engaging, making you want to dig deeper into his oddly apathetic character who wants "nothing" further from life. Red is confusing but compulsively watchable.

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Venus Beauty Institute Review


Weak
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.

Continue reading: Venus Beauty Institute Review

Brotherhood Of The Wolf Review


Weak

"Brotherhood of the Wolf" isn't a bad pre-Revolutionary French action-horror flick, per se. But everything that's wrong with it can be summed up by noting that if it had been made in English, it would have starred Christopher Lambert, that heavy-browed, stiff and oh-so-serious staple of glossy B-fantasy swordplay flicks like the "Highlander" series.

It's lavishly over-produced yet full of cheap cinematic artifice -- like gratuitous, unmotivated, absurdly dramatic slow motion and over-the-top sound effects. It takes itself very seriously for a movie with blinders on to its pronounced plot holes. It features ominous secret-society meetings of evil aristocrats who wear masks and velvet robes. And it has a hunky blond hero (Samuel Le Bihan) with period-inaccurate, rock star mullet hair, who sports war paint and twirls twin swords -- just because it looks cool -- during martial arts duels set in cathedral-like mossy forests.

Everything that's right with "Brotherhood of the Wolf" is harder to explain. Set in a dark French province beset by some stealthy supernatural beast that's goring villagers, the film is thick with atmospheric peril and mystery that seems to have hung in the vaporous air for ages.

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He Loves Me Review


Grim

Throughout the first half of "He Loves Me, He Loves Me Not" -- a deceptive romantic thriller that thinks itself full of clever twists -- writer-director Laetitia Colombani conspicuously leaves out so many details of her story that it's a dead give-away something is amiss.

She buys a little time and good will from the audience by casting angelic Audrey Tautou -- the sweetheart of arthouse cinema after 2001's "Amélie" -- as her heroine, an art student zealously in love with a young, handsome, married cardiologist (Samuel Le Bihan, "Brotherhood of the Wolf").

Colombani tries to skirt around the fact that Le Bihan doesn't seem to be in love with Tautou -- he's noticeably absent from her day-to-day life -- by having their affair unfold only through Tautou's gossip to a girlfriend (Sophie Guillemin) and lonely bleating to an innocuous, haplessly smitten male classmate (Clement Sibony) who just wants to be near her.

Continue reading: He Loves Me Review

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