Et voila ... La sortie du film New York I Love you c'était aujourdhui même aux Usa et déjà les reviews et vidéos en tout genre commencent à circuler.
Donc pour vous mettre dans le bain je poste une des vidéos ou l'on voit Shia :
Puis quelques articles qui font référence aux films sur le net (et en anglais puisque le film ne sort pas normalement avant janvier aux USA)
Du site Newsday : Not much love in 'New York, I Love You'
The second, but probably not the last, in a series of cinematic odes to major cities that began with "Paris, je t'aime" in 2006, "New York, I Love You" weaves 10 short, trivial vignettes into one long, irritating whole.
The 11 mostly young directors (Randy Balsmeyer created the transitional segments) and various screenwriters obeyed certain rules, like never fading to black. There were, however, no mandates to create interesting characters or avoid self-indulgence. As a result, even experienced filmmakers such as Mira Nair ("The Namesake") turn in what feel like immature efforts.
In nearly every instance, fine actors spout drivel. Robin Wright Penn approaches Chris Cooper outside a bar: "Have you ever made love to a perfect stranger?" Ethan Hawke chases Maggie Q outside a bar: "That was kind of a powerful, intimate situation just now." Shia LaBeouf plays a hunchbacked bellboy with an unplaceable accent who dotes on a depressed opera singer (Julie Christie). Eli Wallach and Cloris Leachman are the token adorable older couple.
The movie's hip-factor constantly gets in the way, especially when Orlando Bloom promises Christina Ricci dinner at Balthazar and dessert at Pastis. Only the proudly mainstream director, Brett Ratner, with writer Jeff Nathanson (both of "Rush Hour 2"), turn in something approaching entertainment: the story of a high-school boy (Anton Yelchin, of "Star Trek") whose prom date (Olivia Thirlby) turns out to be wheelchair-bound.
For the most part, each segment ends with a simplistic twist; all that's missing is a trumpet going "wah-wah-wah." It's enough to make you hate New York.
Photo credit: AP Photo | Julie Christie, left, and Shia LaBeouf are shown in a scene from, "New York, I Love You."
‘New York, I Love You’’ wants us to know that the city is a sexy, romantic, thrillingly random place where anything can go down. Sadly, two of those things are your eyelids.
The diverse assortment of talented men and women who’ve been dispatched to write and direct segments of this desultory project return with news of wise young hookers and cranky old Jews, stalkers and loners, virgins, painters, and Shia LaBeouf with a watery Russian accent. Every tale contorts into a punch line, none of which is as surprising or moving as the filmmakers assume.
The movie begins with a “Hey, I was here first’’ cab ride. Entering on the left is Bradley Cooper and on the right, Justin Bartha. They just played buddies in “The Hangover.’’ Now they’re strangers. But the recognition in Cooper’s eyes makes the whole encounter feel like a stunt. It also sets a tone of pointlessness. Not much later, there’s Julie Christie and LaBeouf in an episode directed by Shekhar Kapur (who made both “Elizabeth’’ movies) and written by the late Anthony Minghella, to whom the entire film has been dedicated. Christie and LaBeouf interact in a large white hotel room. He’s the limping Russian bellhop; she’s just her ethereal self. He does all the work and most of the talking. Until he makes a dramatic exit, she rightly ignores him.
Just in the last 10 years, New York has received more exuberant valentines from the horny, besotted, and fake-ID-wielding (“200 Cigarettes’’ and “Nick and Nora’s Infinite Playlist’’ are two that come to mind). This collection also places a premium on kids - Natalie Portman, Christina Ricci, Hayden Christensen, Anton Yelchin, Olivia Thirlby, Eva Amurri, Shu Qi, Rachel Bilson, and Orlando Bloom also show up. But it feels like a business imperative: “We need to sell this thing, OK?’’ This would barely be worth mentioning except that the movie, while populated with exciting young people, misses the natural kick of youth.
Representing the other side of 35, Robin Wright Penn tries to pick up Chris Cooper outside a bar, and it might have been even sexier had we not seen a charmingly overcaffeinated Ethan Hawke do the same to Maggie Q 30 minutes earlier. He’s 38 now and is easily the most vibrant thing in the movie.
There are no gays or people of color who don’t drive a taxi, sell their bodies, or provide a service of some kind. The entry that Portman directs, about a little blond girl and her Brazilian caretaker, highlights the movie’s blind spot by trying to trick us into seeing a racial and socio-economic problem where ultimately none exists.
The assorted directors here include Mira Nair, an Indian who lives in New York; Fatih Akin, a German of Turkish stock; Allen Hughes, an Armenian- and African-American who grew up in Detroit; Joshua Marston, an American whose first movie, “Maria Full of Grace,’’ gave us a Columbian drug mule on her way to the United States, and Yvan Attal, a Frenchman who on a bad day can turn romance into an episode of “Sesame Street.’’ How could so ethnically and artistically diverse a field of filmmakers produce a work of such lifeless uniformity?
This wasn’t so with the movie’s predecessor, “Paris, je t’aime,’’ which was imaginatively, if exhaustively, broken into discrete chapters in which the city’s neighborhoods set the mood. That was the Paris of the filmmakers’ whimsy - trivial sometimes, touristy others, inspired, and artistic even in the weaker segments. This time the entire project has one editor and one cinematographer. If that ensures consistency, it also results in a homogenization of vision.
Aside from a sitcom-sweet excursion to Coney Island, a morose trip to Chinatown, and some embarrassingly dropped names (“Balthazar for dinner then Pastis for dessert?’’ Gag.), it’s hard even to know where we are. If this is New York, I’d need the GPS coordinates to know for sure.
Wesley Morris can be reached at
wmorris@globe.com. For more on movies, go to
www.boston.com/movienation. SourceDu site Big apllesauce : YOU know a collection of Gotham-themed shorts by international directors is in serious trouble when the most entertaining segment is directed by Hollywood uber-hack Brett Ratner.
Not that Ratner's sex fantasy -- teenager Anton Yelchin takes druggist James Caan's wheelchair-bound daughter (Olivia Thirlby) to her prom at Tavern on the Green and ends up losing his virginity, with her hanging from a tree in Central Park -- is any more convincing than anything else going on in "New York, I Love You."
There's also an Orthodox woman (Natalie Portman, who makes her inauspicious directing debut in another segment about a "manny") getting frisky with an East Asian merchant (Irrfan Khan) on Diamond Row; Bradley Cooper jumping into the back seat of a taxi with an obliging stranger and giving the driver hilariously improbable directions.
Not to mention Andy Garcia and Hayden Christensen cheerfully picking each others' pockets in a downtown bar; Orlando Bloom as a grungy composer on the Upper West Side; and Ethan Hawke as -- what else? -- a jerk in SoHo.
The New York loved by these directors is pretty much limited to Manhattan, Brooklyn Heights and 30-somethings, with a token appearance by old pros Eli Wallach and Cloris Leachman, sadly handed weary clichés to utter as they stroll the Coney Island boardwalk.
This is a follow-up to the much better "Paris, I Love You," which attracted bigger-name directors, probably because their shooting schedules weren't limited to two days, and their shorts weren't connected by inane linking segments as if this were a hipster version of "Love, American Style."
Besides Ratner, the best known director involved in the new edition is Anthony Minghella, who passed away before his shoot. His pretentious script, directed by Shekhar Kapur, takes place on the Upper East Side, incongruously teaming Julie Christie and Shia LaBeouf.
When "New York, I Love You" was previewed in Toronto a year ago, there were two additional segments that have since been cut. So you'll have to wait for the DVD to see just how bad Scarlett Johansson's directing debut is.
SourceEt enfin une review du site SF GATE : "New York, I Love You" loves New York, or so it claims. In reality, it loves the idea of New York - a place where immigrants chase dreams, couples flirt on street corners and the Chrysler Building looms from every vantage. In the words of one hopeful cabbie, "This is the capital of everything possible."
And if the movie doesn't quite do its subject justice, well, what can? "New York, I Love You" gamely tries to capture a vast, twinkling cityscape with not one love story - but 11 little ones, a few of them overlapping. With a concept by Emmanuel Benbihy, it's more streamlined than "Paris, je t'aime," Benbihy's similarly conceived film that strung together 18 stand-alone shorts by 21 directors. Each piece had its own distinctive voice and its own Parisian district.
This time around, 11 directors took part, but their contributions play more like subplots in a huge, smooth ensemble piece than a geographically related grab bag of shorts. No title cards pop up announcing a new story, director or neighborhood. Instead, you'll have to squint for the landmarks - a Fifth Avenue street sign, a ride at Coney Island - and wait for the end credits to learn who made which chunk of the movie.
In Jiang Wen's amusing portion, two fast-talking thieves (Andy Garcia and Hayden Christensen) vie for the same babe. In Mira Nair's earnest one, a young Hasidic bride (Natalie Portman) pines for the Jain (Irrfan Khan) who sells her diamonds. Portman also directs a segment in which a little girl (Taylor Geare) and a man (Carlos Acosta) spend a day in the park. In Shunji Iwai's, a film composer (Orlando Bloom) confides on the phone to a woman he's never met. And in Brett Ratner's, a fresh-faced 17-year-old (Anton Yelchin) escorts his prom date: a girl in a wheelchair (Olivia Thirlby), the daughter of a gruff old pharmacist (James Caan).
Yvan Attal gives us two pairs of smokers outside a restaurant (Ethan Hawke and Maggie Q, Chris Cooper and Robin Wright Penn). Fatih Akin's bit follows an artist (Uður Yücel) obsessing over a Chinatown tea-shop clerk (Shu Qi). Joshua Marston's shuffles alongside bickering marrieds in Brooklyn (Cloris Leachman and Eli Wallach). From Shekhar Kapur comes the film's mistiest tale, about an Englishwoman (Julie Christie), an old hotel employee (John Hurt) and a limping valet (Shia LaBeouf). From Allen Hughes: its most erotic, about a man (Bradley Cooper) and a woman (Drea de Matteo) coping with post-sex jitters.
Weaving it all together, sort of, is Randy Balsmeyer's meandering study of a video artist (Emilie Ohana) who bops around the city with her camera. This isn't a realistic portrait of Big Apple romance. This is a valentine from a band of fervid international suitors. It's a bit too arty, and a bit too cute, but it charms and cajoles with the pluck of a native New Yorker.
-- Advisory: Language and sexual content.
Read more:
http://www.sfgate.com/cgi-bin/article.cgi?f=/c/a/2009/10/16/MV6G1A5P3J.DTL#ixzz0U8293AEUSource
