All Saints’ Day 2022: these films to see at the cinema with the family

The festivities of All Saints, which have just begun, remain a good time to organize cultural outings with the family. And a session at the cinema will delight young and old, including comedies, cartoons and animated films.

“Samurai Academy”

If you already knew the Academy of the Stars, you will discover the backstage of the Academy of the Samurai. To become part of this institution, several criteria must be met, among which the most important: being a cat. And that’s where we find Hank, a dog who dreams of becoming a martial arts professional but is denied access to all academies. So when a big cat agrees to train him, the dog accepts the challenge. Even if it means losing a leg or two in the battle. In fact, teaching ancestral techniques is not easy and his teacher does not miss anything. Step out of the samurai bible for dummies, Hank must learn to wield the sword like no other and be as agile as a cat on poles. A test that would make all the participants in Koh Lanta pale. As the trailer promises: “Cat is going to barder!”, Especially when an army of cats comes to town.

Featuring the voices of Samuel L. Jackson, Michael Cera, Ricky Gervais, Mel Brooks and Michelle Yeoh in the original version, this children’s entertainment was notably directed by Rob Minkoff, author of the “Lion King”, as well as “Stuart Piccolo” and M. Peabody and Sherman: Time Travel ”. We also find Chris Bailey, co-writer of “Oliver and company” at the controls.

“Samurai Academy”, by Rob Minkoff, Mark Koetsier and Chris Bailey (1h37). In theaters.


A very nice gift. Now doubly orphaned by the death of Jean-Jacques Sempé, who passed away last August, Little Nicolas returns to the cinema. But this time, the hero is for the first time at the center of a sublime animated film. Directed by Amandine Fredon and Benjamin Massoubre, “Le Petit Nicolas: what are we waiting for to be happy?” traces the origin of the birth of this joyful and mischievous young hero, born from the pen of screenwriter René Goscinny and designer Jean-Jacques Sempé, whose line comes to life to tell us about the genesis of little Nicolas.

The choice of his name, the profession of his parents, the personality of his mistress, the decoration of his house … Immersed in the Paris of the 50s, we understand how the captivating universe of this little boy was gradually conceived by the authors , voiced by Laurent Lafitte and Alain Chabat. This bubbly, nostalgic and heartwarming film also describes their beautiful friendship, painful memories, and resilience. Let’s see to what extent the creation of this character, who evolves into an ideal world, made of laughter and learning, with his nice group of friends, was for his two illustrious friends a way to think about the wounds of their childhood, marked by trauma: the Shoah for René Goscinny and family violence for Jean-Jacques Sempé.

Brought to the music of Ludovic Bource (Oscar winner for “The Artist”), the feature alternates biographical sequences and Little Nicolas stories. We are very happy to (re) discover these eight funny and tender stories, in which children find themselves. Even if the tools are no longer the same, because in reality the essential is elsewhere, remember the parents. Visually very successful, this poem, faithful to the spirit of Goscinny and to the pencil line of Sempé, who had participated in the first animation tests and validated the drawings, required seven years of work. And it was recently awarded. “Little Nicolas: what are we waiting for to be happy?” won the Cristal for feature film at the Annecy International Animation Film Festival.

“Le Petit Nicolas: what are we waiting for to be happy?”, By Amandine Fredon and Benjamin Massoubre (1h30). In theaters.

“The Pharaoh, the Savage and the Princess”

He is the “father” of “Kirikou and the Witch”, “Princes and Princesses”, “Azur and Asmar” and “Dilili in Paris”. At 78, Michel Ocelot unveils “The Pharaoh, the Savage and the Princess”, an animated film with three short films as beautiful as they are poetic. They are gods and goddesses, kings and queens, princes and princesses, viziers and sultans.

In the first story, set in ancient Egypt, the young Tanouekamani goes to war to become pharaoh, the only condition for the evil ruler to agree to marry his daughter, the beautiful Nasalsa. In the second story, the action takes place in the Auvergne at the time of the Middle Ages, where a lord’s son befriends a prisoner, before being hunted down and abandoned in the forest far from the castle. Years later, a mysterious individual, nicknamed “Wild Beauty”, sows unrest in the village, with the sole desire to help the poorest. The third and final fairy tale takes viewers on a journey into the heart of the Ottoman Empire with its lavish palaces, lush gardens and sparkling dresses and other costumes. Pure visual pleasure. And a show with a donut seller in love with a pink princess.

To tell these three legends and then connect them with a little breathing space, Michel Ocelot has chosen a narrator who confronts a group of workers – “filmed” from behind on the Shipyard – who wish to escape during their lunch break. Three stories, three eras, three civilizations, but a common will, that of rebelling against parental authority, as soon as the orders become harmful.

“The Pharaoh, the Savage and the Princess”, by Michel Ocelot (1h23). In theaters.

“Belle and Sébastien: new generation”

A universal story Five years after Clovis Cornillac’s third film, “Belle and Sébastien: The Last Chapter”, this cult story of friendship between a child and a dog returns to the cinema in a contemporary version, by Pierre Coré (“L’aventure of the Marguerites “). In this adaptation, shot in the Pyrenees, Sébastien (Robinson Mensah-Rouanet), a 10-year-old Parisian, is sent to the mountains, where his shepherd grandmother lives, not exactly happy with her visit, and the bubbly aunt camp respectively by Michèle Laroque , who excels in this role, and Alice David.

There, the boy somehow tries to take care of the sheep, although he would rather be with his friend at the skatepark. Until the day this young hero, always ready to defend the weak, meets Belle, an imposing patou abused by her master who will become her best friend. Against the backdrop of environmental awareness, Pierre Coré signs a beautiful film with breathtaking landscapes, which reminds us of how essential communication is within a family, and speaks to the new generation, integrating their codes, such as selfie and Instagram.

We also appreciated the feminist approach of this reboot. The director decided to assign the main roles, which symbolize know-how, courage and strength, to women, while previously they were played by their male colleagues. Sébastien’s grandfather has become a grandmother, who takes his flock to more than 2,000 meters above sea level for a transhumance, collects straw every day, scares wolves in the middle of the night, does not hesitate to paraglide with his grandson in the middle of the mountain. tops. One thing is certain, the audience will get a breath of fresh air.

“Belle and Sébastien: new generation”, by Pierre Coré (1h36). In theaters.

“The new toy”

In this remake of Jacques Veber’s film “The Toy”, starring Pierre Richard and Michel Bouquet and released on screens in 1976, Jamel Debbouze slips into Sami’s skin, chatter enjoyed by everyone in his suburbs trying to make a fortune selling teapots with two spouts in the markets. But the jackpot is still a long way off, especially when the police confiscated his merchandise. This future father must therefore find a stable job soon if he wishes to pay off his debts and help his pregnant wife (Alice Belaïdi), who is about to be fired from the group led by the formidable billionaire Philippe Etienne (Daniel Auteuil).

Against all odds, Sami, who works neither morning nor evening, but rather at “noon”, finds work as a night watchman in a department store in Paris. And it is there, while he falls asleep between Spiderman and Venom, that he meets Alexandre (Simon Faliu), son of Philippe Etienne, who chooses him as … his new toy. A toy that the spoiled brat will nickname Gunther and ask you to pack up to take him home.

In exchange for a salary of 2,000 euros a day, Sami will indulge the craziest demands of this authoritarian and detestable boy, whom no one dares to upset by the death of his mother, taken away by a serious illness. Alexandre and the new toy will do the 400 shots in a house the size of Windsor Castle, while his father, cold and distant, connects meetings and helicopter flights. Sami, who doesn’t care about money and prefers men to works of art, stands out in this wealthy family. But with his naturalness and his jokes, he will bring some humanity and gradually create a beautiful friendship with Alexandre.

If it takes the form of a social comedy at times with the class struggle in view, “The new toy” remains above all a nice entertainment where it comes to fatherhood, filiation and love and for which Jamel Debbouze, who returns to direct cinema by James Huth (“Brice de Nice”, “Lucky Luke”), connects the floodgates and has fun like a child.

“The new toy”, by James Huth (1h53). In theaters.

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