A little off-topic: traditionally reserved for the film, they will, for once, talk about something else. Top Car Museum, museum bottom is not a film is just a grim joke an hour and a half, a pure bunch of crap to book the most reactionary reactionaries. Like what Jean-Michel Ribes in everyday life is a succession of false positive words that triviality is matched only by the flatness, an accumulation of many small ideas that assholes claim to offer another view on the world. The art world is here particularly concerned: thus, those who attend museums are either beaufs unnamed, is the worst snobinards of the universe, which gobent shy without any scam which presents itself as a work Art. And the comic tone (?) Does not all of it is outright contempt in question. Ribes mĂ´ssieur that museums do not, well, he spits because it is unable to appreciate what is taking the form of a simple table, no.
Succession skits repeating the urge, High Museum, museum practice down several types of humor. First, we Ribes inflicts maxims ten miles a minute, turning "Briefs counter" he adapted for television "news museum." Do they lack the natural and amusing, ie the essentials. But the other big dada sir, is the running gag. It has never seen this in less than a hundred minutes. Again and again, never fall, a series of four or five small seedy gags will be repeated before our eyes wide-eyed. Give great lessons in being self-flush daisies: Do not be proud to offer such a spectacle.
Amid this morass, a thirty-known actors trying to defend imbitables texts and tempo, filmed by a camera amorphous. And that is where the click occurs. But morbleu, High Museum, museum bottom is that the huge adaptation of the famous advertising banners for several banks and insurance companies, which employ a whole bunch of actors to lure the barge (one of these series of commercials s 'inspires even directly Palace, a series of ... Jean-Michel Ribes). As in these appalling television spots, each comes to his Panouillé for five minutes before disappearing backstage to go touch his check. The difference is that High Museum, museum bottom takes one hour thirty-it is impossible to zap. The relief was great when, finally, the museum literally disappears under water: the symbolic conclusion that this huge loop sinking, has also put an end to our suffering. To flee absolutely.
Succession skits repeating the urge, High Museum, museum practice down several types of humor. First, we Ribes inflicts maxims ten miles a minute, turning "Briefs counter" he adapted for television "news museum." Do they lack the natural and amusing, ie the essentials. But the other big dada sir, is the running gag. It has never seen this in less than a hundred minutes. Again and again, never fall, a series of four or five small seedy gags will be repeated before our eyes wide-eyed. Give great lessons in being self-flush daisies: Do not be proud to offer such a spectacle.
Amid this morass, a thirty-known actors trying to defend imbitables texts and tempo, filmed by a camera amorphous. And that is where the click occurs. But morbleu, High Museum, museum bottom is that the huge adaptation of the famous advertising banners for several banks and insurance companies, which employ a whole bunch of actors to lure the barge (one of these series of commercials s 'inspires even directly Palace, a series of ... Jean-Michel Ribes). As in these appalling television spots, each comes to his Panouillé for five minutes before disappearing backstage to go touch his check. The difference is that High Museum, museum bottom takes one hour thirty-it is impossible to zap. The relief was great when, finally, the museum literally disappears under water: the symbolic conclusion that this huge loop sinking, has also put an end to our suffering. To flee absolutely.
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