Résumés(1)

A couple of good-looking small-town teenage slackers, Bobby Kent and Marty Puccio have known each other forever. Together they work dead-end jobs, do drugs and hustle at the neighbourhood gay bars, selling porno home videos and queer phone sex for cash and kicks. Bobby's a sadist, a bully, brutal and efficient; Marty's his best friend, his play-thing, his punching bag. It's how they've always been. They hook up with beautiful, spoilt Ali and her awkward, vulnerable friend Lisa for a double date at the beach. When Marty takes Lisa in the back seat of Bobby's Camaro, she surrenders her body and opens her heart. Ali's experience is different. In the front seat, Bobby ridicules her as he pushes her mouth towards his crotch. Later, Lisa tells her mother she's got a new boyfriend. She's in love. When Lisa and Marty have sex in Bobby's bedroom, Bobby bursts in and beats Lisa's naked body with his belt. Marty's used to this kind of treatment. He's been swallowing Bobby's abuse for years.

But this time, it's too much. As he spends more time with Lisa, Marty's loyalties start to shift. Bobby's not too thrilled. He feels his power over Marty slipping. Bobby feels threatened. Lisa gets pregnant. She drives to Marty's to break the news, but Bobby's there. Marty roughs her up before kicking her out. Sobbing, she leaves, Bobby's insults ringing in her ears. Lisa tempts Ali into getting back together with Bobby, telling her he's into some weird stuff that might turn Ali on. If they like each other, maybe Bobby will leave Lisa and Marty alone. But Ali was right the first time - Bobby's not a nice guy. Their reunion is even rougher than before, and ends in a brutal rape. Lisa appeals to Marty. Bobby is evil. Bobby's a rapist. Bobby treats Marty like a dog. Bobby has to die. (Wild Bunch Distribution)

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Critiques (2)

POMO 

Toutes les critiques de l’utilisateur·trice

français Le dégoût initial de l'effort vulgaire de choquer par une représentation ouverte de la vie sexuelle des adolescents de Los Angeles se transforme, après la scène clé, en une réaction très crédible des protagonistes envers l'acte qu'ils ont commis. Pas aussi clair et précis que Kids, mais pas aussi confus et vide que Ken Park non plus. Bully se trouve quelque part entre les deux. Moins bon que ceux que j'ai reçus de Alpha Dog. (Note : 3/5) ()

claudel 

Toutes les critiques de l’utilisateur·trice

français Moi, je prends la défense de Larry Clark. Il s’est lancé courageusement dans la mission de porter à l’écran une histoire criminelle réelle qui choque par sa brutalité et sa cruauté. Les agissements du protagoniste central, de sa compagne et de la fille que l’homme assassiné a presque violée peuvent se comprendre et se justifier en partie, car ils ont tous subi une terreur considérable tant sur le plan psychique que physique. Bien sûr, les scènes de sexe explicites ne manquent pas, mais ça, ça fait partie du cinéma de Clark. ()