Frère Noël

Probablement la comédie la plus faible avec Vince Vaughn, sans compter Old School. Il y a tout de même quelques points positifs : le dîner romantique dans le restaurant fraîchement ouvert, la ville magique pleine d’adorables elfes au pôle Nord, un Paul Giamatti horriblement gros et, comme toujours, une Rachel Weisz à croquer et des blagues de Vaughn sur sa mère. (13/03/2010)

After the great comedy "The Break-Up," I was willing to defend Vince Vaughn at all costs because that film was successful. But after seeing every subsequent movie with him, I realized that seeing this actor once is enough, and then that's it. Because the second time, you will wonder why you actually liked him, and after many times, you will find it very difficult to bear him. You will realize that he has no acting range and is even more annoying than Sandler because he is simply incredibly clumsy. "The Dilemma," "Trouble in Paradise," "Fred Claus," and finally, "Four Christmases" (in the order I saw the films) only proved to me that he is not really an actor capable of good leading roles and is better suited for supporting roles, as he perfectly demonstrated in the film "Couples Retreat." "Four Christmases" is a comedy that benefits from people's love for Christmas and Christmas movies. Santa Claus is one of the most beloved characters in America and has been overshadowing the president in recent years. Paul Giamatti is an actor I would never have imagined as Santa, yet he did a great job. Vince Vaughn is his obnoxious brother who simply suffers because his brother is so popular. He lives an ordinary life, which suits him. Unfortunately, he has to come into contact with his brother again, which makes it very difficult for him to keep his temper under control. What is it about? Well, of course, it's about how an asshole becomes a loving brother. A two-hour film where everything is predetermined. You will want to cry, you will want to laugh, but everything only because it is simply given that way, that's how it should be. Everything follows a well-worn path, using exactly the twists you expect, so you are even told how to behave. Why put heart into a film when all you need to do is just create something that has already existed, only fit it with a slightly different story, and a relatively grand North Pole? It is not surprising that a group - well, maybe a substantial group - of people has formed who condemn American production and prefer European or Japanese films. When one watches a lot of films, one must realize how clichéd, unimaginative, and solely focused on making money they are. Where is the art? Where is the effort to impact the audience in a different way than simply with grandeur? Could it be that Hollywood is trying to kill art? More: http://www.filmovy-denik.cz/2012/11/deja-vu-fred-claus-oko-dravce-penelope.html (02/03/2013)