Stéphane-Rousseau

Astérix aux jeux olympiques [Asterix at the Olympic Games] (2008)

Astérix aux jeux olympiques [Asterix at the Olympic Games] (2008)

(On TV, November 2019) There were four live-action movies based on the Asterix comic books between 1999 and 2012, and there’s a fair case to be made that Astérix aux jeux olympiques is the worst of them. Sure, the first film had some issues in terms of how to integrate comic book exaggeration in a live-action setting. But the script was generally serviceable, and that’s more than we can say about this third instalment. The most fundamental of its mistakes is to make an Astérix and Obélix story in which both main characters are supporting players in another plot having to do with fairly minor characters. The detour to Greece for the titular Olympic Games is (in keeping with the original comic book) an excuse to parody the modern Games, but they keep adding more subplots that have little to do with the putative heroes of the film. Much of the film is spent wondering when we’ll ditch the useless characters and go back to the lead duo. The chariot race that composes much of the third act does bring some much-needed energy back into the film, although that’s not a constant—whenever you puzzle over some lame joke, scene or one-off character interrupting the flow of the action, head over to the film’s Wikipedia page and you will realize that you’ve just seen a celebrity cameo from someone you’ve never heard of as a future viewer hailing from a future distant enough from 2008, which is already starting to happen in 2019. But Astérix aux jeux olympiques keeps the worst for last, as rather than wrap things up neatly with a quick banquet scene, it drags on for another 5–10 minutes for the sole purpose of bringing back an annoying character from the previous film (played by infamous showboater Jamel Debbouze) as well as other celebrity cameos. Enough. By that time, we just want it to be over. The special effects are better than the previous film, but not used judiciously or even tastefully. The direction isn’t particularly strong, and while it’s fun to see French-Canadian Stéphane Rousseau in a leading role, the amount of screen time he gets is an issue when the main characters of the series are sidelined. At least Clovis Cornillac and Gérard Depardieu are not bad as Astérix and Obelix, with no less than Alain Delon as Julius Caesar. Still, there’s not enough to offset the tremendous waste that is the misguided script and the overindulgent execution.

Omertà (2012)

Omertà (2012)

(In French, On Cable TV, October 2013) I have fond memories of the original “Omertà” TV series that was broadcast back in 1996: A muscular police thriller set against the backdrop of Montréal’s organized crime, it put Michel Côté on the map, brought Hollywood-like production values to Québec TV and showed that home-grown entertainment could be remarkably enjoyable.  Omertà-the-movie obviously banks on name recognition, as it purports to follow Michel Côté’s character more than a decade after the conclusion of the third series.  The links between TV series and film aren’t thicker than two common characters, though: much of the rest is original, so that viewers without any knowledge of the series won’t miss much.  What follows is a tangled, even opaque, mess of double-agents, organized crime figures, corrupt law-and-order representatives and the occasional victim.  It’s not uninteresting (even featuring a daring death midway through) and filmmaker Luc Dionne’s work is generally solid… but the script leads to a big so-what of an inconclusive ending that doesn’t show bravery as much as it elicits frustration.  While the film has its moments, it seems to lead nowhere, and mishandle its own strengths.  As Québec’s “big movie” of 2012, it offers the usual casting gags and fixtures: Michel Côté and Patrick Huard are omnipresent on the French-Canadian big screen for good reasons, while comedian Stéphane Rousseau is a revelation as a villain (sadly, his characters is repeatedly qualified as a psycho without much on-screen confirmation, and his exit is a big disappointment) while husband/manager-of-Céline-Dion René Angelil as a mob boss is just… funny.  Alas, Rachelle Lefebvre is far less interesting than she should have been in her role.  While Omertà is a decent piece of filmmaking, it’s not quite the slick crowd-pleaser that it aimed to be.  It may be worthwhile to revisit the TV series, though, and I’m still interested in whatever Luc Dionne wants to work on next.