Ponceau

"It's amazing how even an ultra-talented ensemble cast couldn't save this film. According to Moore's "Adventures in a TV Nation" book, many of the featured actors agreed to make Canadian Bacon because they were shown the TV Nation pilot. They likely didn't know what they were really getting into. "Canadian Bacon" is less entertaining than colon-rectal surgery. It's tedious, unfunny, and meandering. And when it attempts to recreate ''Dr. Strangelove'' (which is frequently), it borders on being unwatchable. I smiled ONCE during the film ... during the graffiti scene. ''Cabin Boy'' is more fun to sit through than this dumbed-down "comedy." (abbygird, imdb.com)

 

Queue-de-renard

"I have to admit I'm a fan of Ettore Scola and I expected much more. (...) the word to describe this movie is disappointment. Poor script, poor photography, parallel stories without any connection, amateur actors (or even worst, people who pretend to be), etc. The first half hour looks like you are going to watch a great movie, but later on, the tempo of the film decays deeply, characters who appear and disappear without any logic, and so on. If we were entitled to see how the Romans are and live today, forget about it, it's a confuse mosaic without any talent." (loco_serenata, imdb.com)

Grenat

"It's nice to see Julie Andrews trying a straight dramatic role here - something she hadn't done in awhile - but her character of Judith (wise they didn't try to pass her off as a 'Judy') has the old refined manners and tomboyish hairstyle of yore, and Andrews enacts 'grown-up' as any other actress would interpret frigid. Surprisingly bland, unmemorable drama set in Barbados involves shady Omar Sharif (not the liveliest leading man around, not even in 1974!) hoping to make Andrews a spy while also slowly leading her into the proverbial bedroom. Woeful outing does have some camp value: the James Bond-like credits at the beginning are a cheesy hoot. As for Julie, she's quiet and contemplative, but that doesn't do much for the audience - or for the film. Director Blake Edwards paces the whole dumb thing like a funeral." (moonspinner55, imdb.com)

Bourgogne

"M.A.S.H. en moche (et en pas drôle) que ceci ? Il y a de ça, oui. Mais beaucoup de prétention aussi, à défaut de cinéma. Granier-Deferre a beau tenter l'immersif (caméra embarquées, point pas toujours fait) et la bande-annonce institutionnelle pour l'Armée (innombrables plans en grues sur le camp et fortes répétitions du ballet helicoptéral, le tout bien balourd... loin de Delmer Daves ou de Francis Coppola !). Toutefois, plus que la forme (limitée par une ambition que n'épaule pas le budget) c'est surtout le contenu qui laisse circonspect. Difficile de bien saisir les enjeux du film (qu'est-ce qu'il nous dit ? pourquoi jouer la carte de l'Anticipation que rien ne relaye ensuite ?) et, plus encore, de ne pas être embarrassé par sa niaiserie et ses complaisances scénaristiques (certaines "péripéties" sortent du chapeau un peu paresseusement, sous prétexte que "c'est ça, la guerre"). De devoir enfin se contenter de portraits hâtivement troussés (on a de tendresse que pour la tenancière du mess, Catherine Lachens, meilleure que chez Lautner !) et de tâcher (jusqu'à la dernière minute !) de balayer les ridicules successifs qu'occasionne cette bien vilaine chose." 

Jocelyn Manchec

http://eightdayzaweek.blogspot.fr/2015/07/le-toubib.html

Flap-flap

"As far as I'm concerned, Mario Bava was a genius and one of the greatest directors ever. I even love the movie that Bava considered his worst – Five Dolls for an August Moon. However, if he thought of Five Dolls for an August Moon as his worst then I guess Bava never had the misfortune of watching his movie Dr. Goldfoot and the Girl Bombs. I take it that there are some difference between the Italian version and the American version, but I doubt they'd change my opinion much. Dr. Goldfoot and the Girl Bombs is just that – a complete and utter BOMB of a movie. Other than Vincent Price's gleeful performance as Dr. Goldfoot, I can't think of another positive thing to mention." (bensonmum2, imdb.com)

Pourprin

"The film is nothing more than a badly made student film, supposedly a mock documentary about a group of film-makers who follow around a serial killer? I'm sorry, but I don't buy the plot at all, are we supposed to be shocked later in the film, when the film makers begin to actively take part in Benny's murders, because if they where such good human beings to begin with they wouldn't passively stand by and watch him murder women and children. If the character's were journalists maybe I could have understood this, but no, there was never any mention of journalism made that I picked up on. This film is nothing more than a bad joke, committed against moviegoers who take this rubbish seriously. Not only a waste of film, but a waste of time for anyone who watches it." (AdFin, imdb.com)

Turc

 https://www.youtube.com/watch?v=VdpHYaZlHo8 

Senois

"I watched this movie alone, and I still felt embarrassed by all the overacting. Especially Faye Dunaway. And by about the millionth pontificating monologue, I could actually feel the knuckles of the writer's hand grinding against my esophagus as he was shoving themes and points down my throat.

I personally don't like movies with urgent morals. I was also annoyed by the shallowness of the characters - they all seemed to me as cardboard cutouts which the writer moved around to carry out his agenda. And I found that agenda to be much much less about the subject matter - media politics and the political state of America in the 70s - and more about nostalgia for the good ole' days when there were no humanoids and boob tubes. I felt Network was a backward thinking, cartoon of a movie that wanted to be about 20 different things and wound up being about nothing worth pondering." (tnk2d, imdb.com) 

Groseille

"Old professors on road trips, no matter how many fully dressed blonds you add, will probably never provide much wildness or strawberries (...). Ingmar definitely failed (...). He hints that he may be attempting irony, but that really doesn't work outside of a few instances where the actors pull it off. (...) The film seems more like that of a young, naive director playing with university ideas and quite possibly trying to antagonize a professor he hated, or simply fool him into grading the film highly by not committing to anything and leaving it open for interpretation." (in1984, imdb.com)

Anglais

"As a big fan of Henry Miller, I must vehemently trash this movie. The director misses the point of the novel completely, and instead INVENTS a tediously pretentious story around the most basic elements of Miller's book. It's an embarrassment, really. Miller and Carl's poverty is such a factor in the book, yet the movie's setting is extravagant and overblown. I had thought that the 1970 version was a poor facsimilie, but I see that that film at least attempted to capture the down-and-out feel of the book, the crudeness of Miller's language in that particular telling, and made some effort to follow the plot of the book. Andrew McCarthy is a snivelling newt with no charisma. McCarthy as Miller? I was cringing the entire time. I couldn't even bear to fast-forward the second half of this version. Dear god, avoid this waste of everyone's time. Why did the director even bother?" (GComstock, imdb.com)

Rutilant

"Si l'interprétation n'est pas mauvaise elle tombe cependant trop dans l'excès. L'Amour braque devient rapidement agaçant, énervant et frôle la débilité ; c'est frénétique mais sans vitalité. Avec une mise en scène et une interprétation plus mesurées L'Amour braque aurait pu être un film intéressant mais Zulawski est parti dans un délire de cinéaste oubliant le spectateur." (AMCHI, senscritique.com)

Colorado

"It seems no matter what I see her in, Christina Ricci seems full of promise but fails to deliver. Sure she can cry and scream, but Prozac Nation sees Ricci totally out of her depth, perhaps I'm being too harsh.... okay, I'm shifting the blame to the director. Jessica Lange is outrageous and almost reaches Faye Dunaway heights of megadramatisation. Unfortunately I think Lange peaked with Frances and it was all downhill from there. There was every chance of this film being slick and witty while tackling depression head on. What we get instead is poorly acted hysteria dressed up with a stereotypical try hard eighties veneer." (henry_cloud, imdb.com)

Bismarck

"This film was very much a disappointment. I understand that it's meant to understated, but it's so subtle to the point of being droll. The first 45 minutes are quite confusing, there's lots of subtle plot points that seem to detract from the main plot. The acting is decent, but the script is borderline comically unrealistic without being ironic. (...) This movie is all style and no substance. Nice art direction, nice cinematography, even good acting, but absurd script, excruciatingly slow pace, poor character development (what are there motivations?) and a plot spread thin over two hours complicated by unnecessary verbose dialog and distracting side bar sub-plots." (pintousmcff, imdb.com)

Empourpré

"This film tries to be complicated and different than the others, one of these films that make you change your life, such as other Robin Williams' films, for example Dead Poets Society, however this film is just that, a try.
All they show is a bunch of weird people whose lives have been ruined for one reason or another and make then play their roles in a "circus" half real and half fantasy with a pretentious typical fairy tail touch, including the unexpected ending". (Ángela, imdb.com)

Vermeil

"Ainsi on se sentait en intimité avec ces personnages ? Ainsi pensait-on que c'était l'un des meilleurs films du New-Yorkais agité ? Que s'est-il passé pour que soudain la familiarité éprouvée laisse place à une légère gêne ? Comme si on était vexé d'avoir supposé d'importants enjeux à un film qui semble n'en avoir plus aucun. Trois soeurs sous le patronage lointain de Tchekhov, trois vagues intellos normalement névrosées et bourgeoises, dont Woody Allen tresse les affaires de cœur à la manière d'un diariste aux aguets. L'aînée (Mia Farrow) est trop parfaite, ce qui autorise son entourage à déconner un max. Son mari (Michael Caine dans le rôle d'un type à la veulerie ordinaire) la trompe avec l'une de ses sœurs (Barbara Hershey), tandis que la troisième (Diane West), promise au rôle de la ratée, lui tape sans arrêt du fric et de l'énergie affective. Quelque chose dans cet habile portrait en triptyque le laisse incomplet, insuffisant, mais quoi ?

On ne peut reprocher au film sa lourdeur psychologique, puisque sa caractéristique est justement de l'éviter élégamment, en incorporant en contrepoint humoristique la chronique d'un hypocondriaque désarmant, Woody Allen himself se coltinant sarcastiquement la peur suprême de la mort. Deux registres se partagent ainsi le récit, éprouvant mutuellement leur justesse. Beaucoup de comédies dramatiques ne résisteraient pas à l'irruption d'un comique lâchant une bonne vanne, certaines au contraire expulseraient sans mal l'intrus repentant. Woody Allen cherche depuis toujours le point d'équilibre où le sérieux de l'existence et sa critique comique pourraient, au contraire, se nourrir mutuellement, devenir un miroir réciproque. Mais dans Hannah et ses sœurs, la confrontation-fusion n'a pas vraiment lieu. Le film demeure scindé en deux droites parallèles qui s'ignorent et ne se réunissent qu'artificiellement à la fin. En fait, rien ne manque à Hannah et ses sœurs, c'est juste que sa problématique et son optimisme ont pris un coup de vieux, car la vie, le cinéma, et Woody Allen lui-même nous ont appris depuis un autre cynisme, un autre désespoir, une terrible misanthropie. Hannah aujourd'hui ne fait plus le poids, la tendresse est à réinventer." (Isabelle Potel, liberation.fr)

Gueules

"Ce film est un cas. On pourrait le limiter à ce qu’il est d’abord : une farce paysanne tournant autour de la rivalité de quatre candidats au poste de directeur général d’une coopérative laitière. Mais la farce est trop épaisse, trop volontairement indigeste, elle fait appel à trop de notations délibérément sinistres ou répugnantes pour ne pas dissimuler d’autres intentions." (Télérama, 30/09/1962)

Brique

"Although some people like to call "The Knack" one of the best comedies of the sixties I don't agree with them. It's just a very silly, unorganized, hectic and boring farce about four beatniks running around and talking weird nonsense all the time. Especially the ugly duckling Rita Tushingham is getting on your nerves pretty soon. If people are doing things like that in a 1960's movie and are reading quotations from Karl Marx or a Mao bible, it's probably a Jean-Luc Godard film. If you leave away Marx and Mao and add hundreds of stupid jokes in a row that are all falling flat, it's probably a Richard Lester movie. "The Knack" is very much like Lester's Beatles movies - great music throughout, this time provided by a rousing John Barry score with a great theme tune, but no script, bad acting and a big bore... in Germany we would call that "beknackt" (sic!) - simply stupid!" (Mikew3001, imdb.com)

Rouge de Mars

"I can't imagine any but the most die-hard Who fans liking this, and even then it might try their patience. The music doesn't even sound good in this rock opera about a traumatized boy who becomes a pinball sensation. There might be a point to the story, but God knows what it is. It's filled with people who can't act, and showcases Ken Russell's direction at its over-indulgent worst. It's really not much more than a random series of images set to music by the Who, that maybe would be cool if you were stoned out of your mind while watching it. Otherwise, just listen to the original concept album and leave the T.V. turned off."
(evanston_dad, imdb.com)

Carmin

"Roeg has done some great movies, but this a turkey. It has a feel of a play written by an untalented high-school student for his class assignment. The set decoration is appealing in a somewhat surrealistic way, but the actual story is insufferable hokum." (vyto34, imdb.com)

Grenadine

"A low-budget romantic comedy - one of many in recent years, unfortunately - with unfunniness in all of its inglorious drawn out entirety. Indie movies used to be - whether good or bad - fairly original and stayed away from some basic Hollywood cliché genres: such as the romantic comedy. With all those Grant/Bullock or Hanks/Ryan or Clooney/Pfeiffer sappy movies around, why would an "auteur", an "indie rebel", dirty his hands with that clap-trap? He would, and he will and he wants to because he is a BAD "auteur." (fedor8, imdb.com)