法式出口

主演：

米歇尔·菲佛,卢卡斯·赫奇斯,崔西·莱茨,维勒莉·玛哈菲,苏珊·柯尼,伊莫琴·普茨,丹妮尔·麦克唐纳,伊萨赫·德·班克尔,丹尼尔·迪托马索,马特·霍兰德,RobertHigden,拉里·戴,朱利安·拜利,UnaKay,瓦拉斯塔·瓦拉纳

备注：

更新1080P

类型：

喜剧片

导演：

阿扎泽·雅各布斯

年代：

2020

地区：

加拿大

语言：

英语

更新：

2024-01-23 20:20

简介：

米歇尔·菲佛、卢卡斯·赫奇斯、崔西·莱茨将出演超现实主义喜剧片[法国出口](FrenchExit，暂译)。阿扎泽·雅各布斯将执导这部改编自帕特里克·德维特小说的电影。菲佛饰演60岁的曼哈顿社交名媛弗朗西丝·普莱斯，赫奇斯饰演她没有方向的儿子马尔科姆，莱茨饰演她已故多年.....详细

Exerting itself to squeeze some discomfiting laughter out of inertia and self-destruction, Azazel Jacobs’s FRENCH EXIT sustains a rather tepid temperature to keep our empathy at bay. Michelle Pfeiffer plays Frances Price, a widowed Manhattan socialite, relocates to Paris with her son Malcolm (Hedges), and a black cat (who later turns out to be the reincarnation of her late husband), when her fortune is summarily seized by the bank. Cashing out everything she owns into euros, Frances decides to end her own misery when the money is spent, and she is not stinting on the expenditure.

As a brittle, icy diva, Pfeiffer’s Frances is definitely not in the mood to meet anybody halfway, it is a role almost tailor made to Pfeiffer, when senescence casts a pall on her once youthful glamor, and every wrinkle on her face spits in the eye of ageism, you don’t expect her to mellow into a gracious lady. Warmth is never Pfeiffer’s strongest suit, so here, she goes for broke, throwing off any affectations (no cartoonish villainy, nor wretched politesse), her Frances is so single-mindedly propelled by her death wish, she becomes a totally strange, unfathomable creature whose conducts are beyond our ken. And yet, Pfeiffer’s standoffishness cannot dissimulate the void that benumbs Frances, her calibration and modulation is virtuosic.

That is why, hers is both a fascinating and frustrating role to watch for almost 2 hours, Patrick DeWitt’s script (it is based on his own novel) gets swamped in that mythified notion of one’s unknowability, his characters (apart from Frances) have no roots, they seem to be merely floating puppets, the detachment from reality should have been the forte of FRENCH EXIT, but the story’s black humor has no zinger, even the surreal parts of the séances and psychophony (in Tracy Letts’ rather animated voice, and it is not from the medium) are inert, like workaday altercations, they are distractingly mundane.

Cramming Malcolm’s growing pains, arrested development and immature relationship with Susan (Poots), and inter alia, a nosy fellow expatriate Mme. Reynard (a quirky but maddening Mahaffey) into the plot, by literally corralling everyone involved into the Price’s Parisian apartment, FRENCH EXIT futilely attempts to attain a far-out certification for its grim subject matter, only Frances and Malcolm’s final tête-à-tête makes some sense (Hedges looks a bit grotty, bland and enervated), elsewhere, the film is caught up in its own quicksand. It is sad to conform, a contrivance too disorganized and self-contained to connect with a wider audience, FRENCH EXIT isn’t a Pfeiffer vehicle which could get her the elusive Holy Grail, however inimitably delectable she is.

referential entries: Steven Soderbergh's LET THEM ALL TALK (2020, 6.6/10); Burr Steers' IGBY GOES DOWN (2002, 5.6/10). Title: French ExitYear: 2020Genre: Comedy, DramaCountry: Canada, Ireland, UKLanguage: EnglishDirector: Azazel JacobsScreenwriter: Patrick DeWittbased on his own novelMusic: Nicholas deWittCinematography: Tobias DatumEditing: Hilda RasulaCast:Michelle PfeifferLucas HedgesValerie MahaffeyImogen PootsDanielle MacdonaldSusan CoyneIsaach De BankoléDaniel di TomassoVlasta VranaYounes BouabTracy LettsRating: 6.1/10"<>"" && "

Exerting itself to squeeze some discomfiting laughter out of inertia and self-destruction, Azazel Jacobs’s FRENCH EXIT sustains a rather tepid temperature to keep our empathy at bay. Michelle Pfeiffer plays Frances Price, a widowed Manhattan socialite, relocates to Paris with her son Malcolm (Hedges), and a black cat (who later turns out to be the reincarnation of her late husband), when her fortune is summarily seized by the bank. Cashing out everything she owns into euros, Frances decides to end her own misery when the money is spent, and she is not stinting on the expenditure.

As a brittle, icy diva, Pfeiffer’s Frances is definitely not in the mood to meet anybody halfway, it is a role almost tailor made to Pfeiffer, when senescence casts a pall on her once youthful glamor, and every wrinkle on her face spits in the eye of ageism, you don’t expect her to mellow into a gracious lady. Warmth is never Pfeiffer’s strongest suit, so here, she goes for broke, throwing off any affectations (no cartoonish villainy, nor wretched politesse), her Frances is so single-mindedly propelled by her death wish, she becomes a totally strange, unfathomable creature whose conducts are beyond our ken. And yet, Pfeiffer’s standoffishness cannot dissimulate the void that benumbs Frances, her calibration and modulation is virtuosic.

That is why, hers is both a fascinating and frustrating role to watch for almost 2 hours, Patrick DeWitt’s script (it is based on his own novel) gets swamped in that mythified notion of one’s unknowability, his characters (apart from Frances) have no roots, they seem to be merely floating puppets, the detachment from reality should have been the forte of FRENCH EXIT, but the story’s black humor has no zinger, even the surreal parts of the séances and psychophony (in Tracy Letts’ rather animated voice, and it is not from the medium) are inert, like workaday altercations, they are distractingly mundane.

Cramming Malcolm’s growing pains, arrested development and immature relationship with Susan (Poots), and inter alia, a nosy fellow expatriate Mme. Reynard (a quirky but maddening Mahaffey) into the plot, by literally corralling everyone involved into the Price’s Parisian apartment, FRENCH EXIT futilely attempts to attain a far-out certification for its grim subject matter, only Frances and Malcolm’s final tête-à-tête makes some sense (Hedges looks a bit grotty, bland and enervated), elsewhere, the film is caught up in its own quicksand. It is sad to conform, a contrivance too disorganized and self-contained to connect with a wider audience, FRENCH EXIT isn’t a Pfeiffer vehicle which could get her the elusive Holy Grail, however inimitably delectable she is.

referential entries: Steven Soderbergh's LET THEM ALL TALK (2020, 6.6/10); Burr Steers' IGBY GOES DOWN (2002, 5.6/10). Title: French ExitYear: 2020Genre: Comedy, DramaCountry: Canada, Ireland, UKLanguage: EnglishDirector: Azazel JacobsScreenwriter: Patrick DeWittbased on his own novelMusic: Nicholas deWittCinematography: Tobias DatumEditing: Hilda RasulaCast:Michelle PfeifferLucas HedgesValerie MahaffeyImogen PootsDanielle MacdonaldSusan CoyneIsaach De BankoléDaniel di TomassoVlasta VranaYounes BouabTracy LettsRating: 6.1/10"<>"暂时没有网友评论该影片"}