I Care a Lot

Ceci est ma femme adulte prometteuse ! Un sujet original avec une définition moderne des personnages, un combat intelligent entre des egos incroyablement forts où personne n'est innocent et où chacun mérite de se faire botter les fesses. Un thriller et un film de gangsters où le personnage féminin est aussi puissant que Clint Eastwood dans les westerns de Leone, et en même temps un miroir précis de la société américaine avec une touche d'auteur. Rosamund Pike offre la meilleure performance féminine dans un film en anglais depuis longtemps - non pas par la profondeur pour laquelle les prix sont décernés, mais par la précision chirurgicale de son jeu dans chaque scène. C'est elle qui est l'épine dorsale de ce mélange audacieux de genres. La présence de Peter Dinklage semble d'abord bizarre, mais s'intègre parfaitement au concept caricatural du film. Un film qui aurait pu tourner au ridicule, mais grâce à une excellente réalisation et à Pike, il devient un petit bijou postmoderne. (22/02/2021)

Of course, I'm glad it turned out the way it did .... but had it ended a few minutes earlier, I would’ve tipped my proverbial hat because a film with such big cynical balls would be remembered years from now. Blakeson just went soft, but it doesn’t matter, my idealistic little soul was relieved, so at least I send my kisses to Rosamund, those mischievously ironic pursed lips of hers at exactly the right moment, that eye play, it was an acting recital. (26/02/2021)

An excellent, cynical, motherfucking thriller about the conflict between two assholes. Rosamund Pike enjoys herself plenty playing a despicable being who abuses defenceless old people, until one day she messes with an old woman who has very dangerous friends. It’s brisk, with excellent performances and a lot of fun, but unfortunately not so well written. In the last act things go a bit too over-the-top and the script begins to rely too much on unlikely coincidences. But I’m willing to turn a blind eye to it, because the ending was pleasant. In short, great satisfaction. (19/02/2021)

Rosamund Pike plays your typical, ruthless, evil, confident bitch who literally gets away with everything. The film has a compelling story about a woman who steals from defenseless pensioners and always gets away with it, until she runs into a lady who has dangerous friends. In addition to Rosamund Pike’s great performance, there is an excellent antagonist in Peter Dinklage (known to most as Tyrion). It’s nicely and engagingly shot, it has style, swing and panache, and plenty of twists and turns are not spared and suspense. I certainly wasn't expecting such an entertaining, engaging and intelligent film. Netflix is on. Story****, Action>No, Humor** Violence**, Funniness****, Music***, Visuals****, Atmosphere****, Suspense***. 7.5/10: (19/02/2021)

With our government’s policies, I probably (luckily) won’t survive until my retirement. It’s just a matter of time until Marla inspires somebody to open a similar professional care service in this country. This cynical, female version of Scarface surfs on the waves of modern trends and, but still comes across subversively. It has a perfect screenplay which doesn’t falter, even at the end, and it manages to squeeze both comedy and a good portion of tension from the ridiculous premise about a "carer" who (completely legally) robs the mother of a white slave trade boss. Rosamund Pike’s acting recital is tastefully seconded by Peter Dinklage. Unexpectedly satisfying. (24/02/2021)

I don't really like it when a professional killer in a film decides to kill someone professionally, he does it craftily and cunningly, but then he fails to completely professionally convince himself that he actually did it. This scene, along with one final plan, which was probably successful only thanks to a happy coincidence, lost the film one star from my review. Otherwise, I surprisingly had fun, especially thanks to the perfect Rosamund Pike. (07/03/2021)

Un thème original, une perspective agréablement cynique et une structure remarquable. Puis, une certaine déception. Avec un concept filmique aussi solide et une héroïne principale aussi forte, il est vraiment dommage que le créateur de ce film ait décidé d’y mettre des méchants dignes de personnages animés grotesques à la Looney Tunes et se soit résigné à prendre la moindre décision audacieuse. De plus, c’est le genre de films dont la séquence finale se déroule uniquement avec les idées qui tombaient sous la main des scénaristes sur le moment. C’était correct, mais ç’aurait pu être nettement meilleur ! (01/05/2021)

SPOILER : Ça ne semble pas évident à première vue, mais il s'agit essentiellement du schéma classique d'un gangster qui monte au sommet pour ensuite chuter, à la manière de Scarface (le gangster en question étant l'anti-héroïne principale, une hyène humaine immorale et manipulatrice déguisée en une soignante attentionnée), le tout enveloppé sous un manteau d'émancipation et de satire adapté à la cinématographie (post)moderne du XXIe siècle. Le gangster Peter Dinklage et ses acolytes apparaissent intentionnellement comiques et incompétents, car ils représentent un modèle dépassé de criminels qui se cachent dans le monde souterrain illégal et cultive une aura de corrompus, de contrebandiers et de kidnappeurs qui coupent les doigts, tandis que l'innovante Rosamund Pike et son gang de femmes apparaissent extérieurement comme des bienfaitrices légitimes et se prélassent sous les feux de la rampe sous les ailes protectrices de la législation de l’État et des faveurs judiciaires. Cependant, ils ne contrôlent pas leur entreprise de la même manière que la mafia classique, malgré un système corrompu, ils collaborent au contraire avec ce système et en exploitent les failles. Le film montre également leurs victimes spécifiquement innocentes et vulnérables, ce qui rend donc toute identification avec eux fondamentalement impossible (ce qui finit par affecter la seule figure potentiellement sympathique, et Dinklage, qui voit plus clair, rejoint le côté de ceux que l'on ne peut pas soutenir). Cela sera probablement désagréable pour beaucoup de gens et cela dérangera beaucoup de monde (malgré une certaine satisfaction à la dernière minute), tout comme quelques moments qui paraissent peu crédibles et qui sont pourtant décisifs pour l'anti-héroïne principale. Cependant, les performances marquantes de tous les acteurs impliqués constituent un avantage indéniable. (25/02/2021)

It’s pretty much a slam dunk by the halfway point since the central pensioner scam is a believably foul business, the plot unravels slowly and suspensefully, Peter Dinklage has a great accent and charisma, and Rosamund Pike successfully makes progress in her acting struggle not to come across as a living being. Plus, it has an interesting unspoken subplot at the start about there being a skeleton crew of women in executive positions across the system who look out each other and watch each other's backs in various types of semi-legal trouble. Once the cards are laid on the table, it knocks itself down a few times, stops making sense, and starts peppering us with one tendentious cliché after another. In bullet points (spoilers): 1) the film outright states several times that this will be a conflict of different ways of solving problems, i.e. the fear and brutal violence the mafia antagonist works with versus the cunning and outwitting of the system within it, which is the protagonist's domain. In the end, however, she achieves victory by electrifying the antagonist's security guard with tasers and then drugging him and leaving him dumped in the woods, thus achieving victory over him by his own means, in exact opposition to what she has convinced us of so far 2) Rosamund Pike's character here comes across as a clichéd Strong Woman (TM). To support her, the film thus puts her in situations where a dirty redneck in a red baseball cap threatens to rape her. I find this translation of the Twitter mindset into the medium of film extremely annoying 3) the film is shot in such a way that it could take place practically anywhere there are a few houses, as the camera doesn't take up any space at all and we mostly watch static focused faces in a narrow focus strip with a completely blurred background. Most of the semi-closeups and closeups of faces look like something out of a corporate annual report. 4) When the film does dare to go all in with everything and familiarize us with the space where the scene takes place, for some reason some places are completely nonsensically lit in purple or red, for example, and there's a turquoise light shining out of the windows of a normal apartment building that no one really shines at home. This isn't the first contemporary film where I've seen this, and I'd like someone to explain why they’re doing this to me. (28/02/2021)

Un thriller génial qui nous fait retenir notre souffle du début à la fin. Tendu, je suivais la destinée des personnages avec une rare appréhension face à leurs sorts finaux. Et j’en suis ressorti extrêmement satisfait. Il s'agit en fait d'une représentation tordue et perverse du rêve américain. Rosamund Pike doit avoir des éléments de garce psychopathe et impitoyable dans le sang. (05/03/2021)

The opening monologue appealed to my cynical side, so I was looking forward to a movie that would be right up my alley. At first, it seemed that way. But the filmmakers obviously overestimated their abilities. As time went on, some things stopped making sense and the story started clashing with logic, and the ending was downright pathetic. Despite all my reservations, I'm giving a slightly above-average rating for the very good first half. (09/05/2021)

It hasn’t happened to me in a long time that I've had this much trouble rooting for a character in a movie. Because the problem here is the lack of any "character" in the good sense of the word. Besides, the way the main character justifies his own actions here (lioness or lambs) is insanely banal in every way. Of course I can't say that I don't care how the whole thing turns out and that I wasn't entertained. I Care a Lot combines thriller elements with Coen-esque absurdity quite playfully, and of course tries to put everything into a current social context. Rosamund Pike is OK, though she was a bit more demonic and believable in Gone Girl. In the end, though, it's a pretty cool one-off with a cool story. The ending is a bit overladen and makes a statement more tragicomic than believable on the current status of women in society, but who cares. As long as you don't have exaggerated expectations involving major statements and don't look for any deeper meanings, you'll be reasonably satisfied. It's such a nice play on the genre. [65%] (12/04/2021)

I never thought that Rosamund Pike could play an even more cynical bitch than in Gone Girl. Little did I imagine how she would outdo herself and nail the character of total human scum so perfectly. It’s been a long time since I felt like strangling a character through the movie screen for two hours straight. Peter Dinklage also plays quite an asshole, but you can't help but root for him against Pike. In the end, the authors might have gone a little overboard with the unlikely events, but despite that, this movie about a slightly different version of the American dream is entertaining, with brilliant acting performances, and perhaps a satisfying ending. Although the authors seem to have gone soft towards the end. (08/03/2021)

An unusual subject, the great R. Pike, excellent costumes, and all to the sound of a perfect soundtrack. The only thing that stopped me from giving it the highest rating was the relatively predictable plot (including the ending), but it didn't spoil the fun for a moment. There are wonderful scenes that give you the chills or make you laugh. I am glad that the creators were able to make the best of such an imaginative subject. (03/04/2021)