Les Nerfs à vif

L'introduction de ce thriller de Scorsese m'a laissé froid à l'époque. Et aujourd'hui, j'ai l'impression qu'il s'agit du meilleur "Hitchcock posthume". La musique de Herrmann, les plans de caméra, l'apparence de Jessica Lange, dont le personnage s'appelle en plus Leigh... Marty est un diable, un caméléon qui fait écho brillamment à l'héritage du Maître, tout en agrémentant sa soupe d'un psychopathe phénoménal De Niro et d'un masque de perversion sexuelle excitant. Une affaire un peu raffinée pour les connaisseurs. La cinquième étoile lui échappe de justesse, car il s'agit plutôt d'une expérience éphémère que d'un plaisir à long terme. (17/03/2010)

A perfect homage to the genre with exemplary tension building, gripping atmosphere, and a formally stylized approach uncommon for Martin Scorsese, plus some camera tricks. Roboert De Niro is indescribably brilliant, and the ending is simply demonic. Perfection itself. (30/10/2004)

Scorsese's hyperactive, hysterical, episodic, and unrepentantly coked-up direction simply can't tighten up stories with fewer characters. Watching not particularly well sequenced scenes where four overacting actors scream wildly at each other can be tolerable, even enjoyable for subjective biopics covering the span of several years when basically all the characters are on drugs (Goodfellas, Casino). It's worse with the story of a middle-class family threatened by a relentless rapist, which takes place over the course of several days. Basically, it's a kind of frantic Schadenfreude filled with comical camera zooms, but despite my unbounded respect for the director, I have to admit that Cape Fear isn't much more than a cutely goofy snack. (16/04/2018)

That Martin Scorsese knows how to create tension is a well-known fact. What's worse is that Nick Nolte and Jessica Lange here consistently choose weak moments, and everything depends on the shoulders of the focused demon De Niro. It is precisely in the shadow of his slow nervousness of the hated lawyer that the final catharsis on the ship seems clichéd and unnecessarily exaggerated. (10/03/2007)

Already the opening shot of De Niro's tattoos on a chiseled body gives us a hint that we are going to see something interesting. Scorsese is back on his game and this remake easily surpasses its black and white predecessor. It's worth seeing, if only for the scene where De Niro as a supposedly bohemian teacher seduces Julliete Lewis – what she does is fabulous acting. I'd give it five stars, but the ending is unfortunately stupid, drawn out in the classic Hollywood way. (11/05/2003)