[Lou-Lou]

Merci mon Zackounet :D :love: bon ba c'est pas fameux mais bon je m'attendais pas non plus a que des reviews possitives pour ce film.

[☡aɕk]

Après certaines critiques assassinent qui m'ont fait froid dans le dos et qui ferai l'effet d'un pétage de plombs à la Mariah Carey pour Christina ( sois disant future nommée aux Razzie Awards )

Voilà une bonne critique d'Hollywood Reporter ! All HAIL :love:

Citation

But this tale gets a vibrant makeover in writer-director Steve Antin's toe-tapping, flamboyantly skin-deep musical Burlesque. Yes, it's only skin-deep, and so what? Perhaps because they're so rarely attempted these days, recent musicals have felt a self-conscious need to dig for significance, whether it be artistic malaise (Nine), racial inequality (Dreamgirls) or media manipulation (Chicago). Burlesque stays aggressively on the surface, reveling in its artificiality.

It was a risky bet by this first-time feature director to cast songstress Christina Aguilera, a singer who had never acted in a film. The stroke of genius here is to pair her with pop-music icon Cher. Although Aguilera is in nearly every scene and Cher appears irregularly, they nicely balance each other as they play single-minded characters passionate about their work as cabaret performers.

One is at wits' end about a possibly dying art and the other too fresh and enthused to notice. One singer-actress is an old pro and the other a superb entertainer exploring a new avenue for her talent. (Note to Cher: In this instance, "old" is a good thing and a compliment. You still look fabulous.)

Another successful gamble was to make a musical, traditionally a mating ritual, into a female-centric extravaganza. The movie backgrounds its male characters as best it can -- Love Interest, Best (Gay) Friend, Frantic Ex-Husband, Ravenous Real Estate Developer -- so the beautiful, fabulous women are front and center.

Women will love this, and men won't mind the eye candy either, so it looks like this Screen Gems release can't help becoming a hit. News stories about conflicts on the set and reshoots will only fuel the curiosity factor. Besides, burlesque itself -- a stage-show tradition dating to late-19th century British music halls -- with its risque humor and ample flesh (without full exposure), is making a comeback. Burlesque should seal the deal.

The movie takes place in a Sunset Boulevard theater called the Burlesque Lounge that's on its last legs, no matter how curvy and luscious those legs may be. In walks the naive heroine from Iowa, Aguilera's Ali Rose. She's hooked the minute she sees Cher's Tess, the club's co-owner and resident diva, belt out "Welcome to Burlesque," backed by a chorus line in fishnet stockings and eye-popping bustiers.

No one will give her a job, so with the help of a handsome bartender (Cam Gigandet) -- Love Interest -- she creates one out of thin air. She grabs a tray and is now a cocktail waitress only one urgent plea/conniving manipulation/sensational audition away from that glorious stage.

She gets that shot, of course, and later gets to display that big Aguilera voice, which rocks the theater. A star may be born, but "nothing's what it seems" -- one of the many cliche lines that Antin's screenplay indulges in with glee.

The Burlesque Lounge teeters on bankruptcy. Tess' Frantic Ex-Husband (Peter Gallagher) pleads her to sell to the Real Estate Developer (Eric Dane), while her Best (Gay) Friend (Stanley Tucci) assures her that things somehow will work out. The film's romantic melodrama centers on Ali's tentative flirtation with the bartender. They end up circumstantial roommates in his Hollywood apartment, but he has a "fiancee" back in New York, a nightly long-distance phone call that does nothing to warm his bed.

Back at the theater, a good girl (Julianne Hough) is pregnant and a bad girl (Kristen Bell) insanely jealous of Ali's popularity. And so the various plot lines go, serving mostly to inspire song-and-dance numbers from the female performers. Occasionally, a number takes place in the mind of its heroine. Perhaps the entire movie actually takes place there.

The songs tip their hats to various showbiz traditions. "Diamonds Are a Girl's Best Friend" is a nod to '50s showstoppers, "Wagon Wheel Watusi" leans toward '60s pop, and "Something's Got a Hold on Me" and blues pieces add a touch of soul.

Dances choreographed by Denise Faye and Joey Pizzi aren't conventional displays of happy feet and athletic agility. Instead, numbers are a series of poses built around a prop, like a chair. Hair flies this way, buttocks thrust that way, and arms strike out at abrupt angles. Virginia Katz's editing is swift as Bojan Bazelli's camera moves fluidly in front of the stage.

Antin is in his element here. His sister Robin founded mischievous burlesque troupe the Pussycat Dolls, and he has directed a couple of their videos. He clearly loves this world. The numbers would make Ziegfeld proud; they glorify the American girl with only a little PG-13 naughtiness. Antin knows what you came to see, and he delivers.

So does Aguilera. Her role is kept deliberately nondescript so she can fill it with her own personality and big voice. She does bring beguiling innocence to the part, along with a single-minded determination and a hellacious amount of performing talent.

Cher gets only one other number, "You Haven't Seen the Last of Me," which might become her anthem just as "My Way" belonged to Sinatra.

Tucci has his moments as the stage manager and Tess' right-hand man to lighten the melodrama, but the other roles tend toward blandness. The worst served is Alan Cumming. If ever a performer should have been at home in this milieu, it's Cumming -- who, after all, has done Cabaret onstage. Did his role wind up on the cutting-room floor?

Nonetheless, credit Antin with pulling the film musical back to its roots. With Moulin Rouge and Chicago, the musical was beginning to look like long-playing videos. Burlesque is a smart and sassy expedition back to MGM musicals under Arthur Freed, by way of Bob Fosse's jazz-style song-and-dance movies. Indeed, the film musical it most closely resembles is Fosse's Sweet Charity.

So Burlesque celebrates its talented stars and the renaissance of burlesque's cheeky fun. The only disappointment is that no Burlesque Lounge actually exists on Sunset Boulevard. On film, it's such a rockin' joint.

J'ai vraiment la flemmardise de tout traduire mais dans les grandes lignes, le film se situerai dans le courant de Chicago et Moulin Rouge ( rien que ça ) car en dépit de tout ce qui à pu être dit le thème du Burlesque qui serait censé être passé à la trappe selon certaines critiques acerbes trouve au contraire tout son sens et aurait bien sa place dans le script :wub:

Ce message a été modifié par ℤack ✧ - 25 novembre 2010 - 01:03.

[MaXtina]

Mis à part que le film est une quasi copie de Coyotte ugly, ÉNORME frissons garantie, Christina n'est plus, on embarque dans le rôle de ALI et la réalisation est très bien, pas de temps mort et super! La madame en arrière de moi a dit : OH MON DIEU MAIS QU'ELLE VOIX (elle était la pour CHER) Les gens ont resté écouter Beautiful People qui jouait au générique!! Je pourrai mieux juger lorsque je verrai la version anglaise sur le Acting de Xtina, mais elle se débrouille mieux que prévu!


JE SUIS COMBLÉ, la carrière de Xtina est relancé, sont image va changer, et elle obtiendra de nouveaux fans plus vieux !!! ( C'était plein de grand-pères pervers)

Ce message a été modifié par MaXtina - 25 novembre 2010 - 01:32.

[dan05]

SAN FRANCISCO CHRONICLE REVIEWS 'BURLESQUE'

Musical. Starring Christina Aguilera, Cher and Stanley Tucci. Directed by Steve Antin. (PG-13. 110 minutes. At Bay Area theaters.)


"Burlesque" is irresistible from its first minutes, and over time it creates a whole atmosphere, not only onscreen but within the audience. It's big, perfectly cast and entertaining in every way, but more than that it feels like a generous public event. See it with other people. See it with a crowd.

You will know you're in good hands 30 seconds into meeting Christina Aguilera, as a small-town girl who dreams of big-city glamour. Aguilera has the face of an actress, full of character and thought, and in this, her first screen role, she has an ease with dialogue that some people never achieve. Only when she opens her mouth to sing would anyone peg her as a pop star. Her deep, booming voice shakes the theater's sound system, as Cher's name flashes on the opening credits, and we're off - to about as good a time as anybody's going to have this year sitting down.

"Burlesque" is an amalgam of strains and elements from dozens of movie musicals: There's the club that could exist nowhere on earth. There are dance numbers that could never really happen. There's a paid staff of showgirls. There's a scary brunette diva, and a young woman who's going out there a child and coming back a star. There's also a burgeoning talent who must choose between a rich guy and a nice guy - alas, they are never, ever the same guy.

Some will recognize these motifs from "Showgirls" or "Flashdance," but to see these as cliches would be missing the point. "Burlesque" is operating within a whole musical tradition, with stuff in it literally going back to "The Broadway Melody" from 1929. The point is not that it's possible to piece together a musical out of leftover parts, like Frankenstein, but rather that the old can become new again, when re-imagined for a new era and invested with enthusiasm and feeling.

Let's say something about Cher right away, or else people will start looking for the Cher paragraph. She's wonderful in this. Over the years, she has done things with (and to) her face that make it difficult to cast her in a wide range of roles. But here, as a veteran singer and dancer who owns a struggling nouveau burlesque club in Los Angeles, everything about her look and self-presentation becomes a virtue. As befits a legend, the role and Cher seem to overlap. We watch both of them, appreciating the no-nonsense motherly warmth behind the glitz with a growing conviction that we're seeing some original and very showbiz variety of a great woman.

The club in "Burlesque" has nothing to do with traditional burlesque. Aside from a single, chaste fan dance, the programs consist of production numbers performed by showgirls who dance and lip-sync. Only Cher, as the owner, sings in her own voice - she has two numbers; her second, the ballad "You Haven't Seen the Last of Me," is what could be called "the song from the show." Later, Aguilera also gets to sing. The soundtrack contains originals, as well as such nods to the past as "A Guy What Takes His Time," which was hot stuff when it premiered in the Mae West film "She Done Him Wrong" (1933). As performed by Aguilera, it's not exactly cold stuff now.

Four years ago, Jennifer Hudson became a star, and deserved to become a star, after stopping the show exactly once in "Dreamgirls." In "Burlesque," Aguilera is jaw-droppingly good in several numbers. Moreover, she makes us believe in this aspiring performer's talent, in her consuming need to succeed, and in her essential worth as a person. The script was never going to earn writer-director Steve Antin a Nobel Prize, but it's cleverer than it has to be. Right out of the box, Aguilera knows how to listen to her fellow actors, to react and be spontaneous, and it makes all the difference.

Good people surround her. In addition to Cher, there's Stanley Tucci as the nice gay man who mediates between the owner (Cher) and her new star, in much the same way he mediated, as a nice gay man, between Meryl Streep and Anne Hathaway in "The Devil Wears Prada." Kristen Bell brings force and subtle comedy to her role as a Burlesque diva who feels her star slipping and doesn't like it. Unfortunately, the multi-talented Alan Cumming has little to do, even though this would seem to be his natural environment.

And then, it ends, two minutes before it might have started to sag. Antin doesn't belabor the story. He cuts strings and dashes for the finish - just in time for the massive dance number that sends people out with a spring in their step and the energy to rejoin a world that, for two hours, they'd completely forgotten.

[dan05]

Review du "TIME"

Ali (Christina Aguilera), a lonely innocent from Iowa newly arrived in Los Angeles, has lucky timing. The heroine of the musical Burlesque walks into a Sunset Boulevard nightclub where scantily clad women are gyrating onstage and Alan Cumming is manning the cash register. "Is this a strip club?" Ali asks. Cumming looks appalled. "I should wash your mouth out with Jägermeister," he says, fluttering his eyelashes. Then Tess (Cher), the club's owner and resident diva, struts out onto the stage, as imposing and stiff as a stilt walker, and belts out a number called "Welcome to the Burlesque." Musically, it's not quite Cabaret's "Willkommen," but for an orphaned aspiring showgirl in need of a mother–mentor figure, it's a dream introduction.

By this film's standards, the main criteria for burlesque seems to be looking good in undies and knowing where your breasts are, so you can grab them every 30 seconds or so. Tess is the only performer who actually sings (Cher has two numbers). The rest, including the mean mini-diva Nikki (Kristen Bell), lip-sync to the classics. Ali doesn't get a role onstage, but she does manage to wrangle a waitressing job out of Tess — which allows her to watch the show and learn all the numbers. This means that often, as she's moving about the club, she's simultaneously making spastic little flourishes with her hand, practicing dance moves, waiting for a chance to wow everyone. Ordering anything in a martini glass from this girl would be risky. (See the top 10 movies that shouldn't have made it to Broadway.)

The movie is frivolous fun, but not, as I had sort of hoped, as sinfully awful as Showgirls, Mariah Carey's Glitter or Britney Spears' Crossroads. Lacking the snap of Chicago or the insane creativity of Moulin Rouge, it's a middle-of-the-road musical. While it took my eyes an hour to recover from the chronic soft focus required to make the naturally vampy Aguilera look like an angelic Breck girl, Burlesque doesn't have the kind of stunning bad taste that calls for the immediate invention of a drinking game built around it. Aguilera, making her dramatic debut, is far from a great actress, but compared to Elizabeth Berkley or Spears, she is a veritable Nicole Kidman.

And in Burlesque, she is propped up by three of the most fun people in show business: Cumming, Cher and Stanley Tucci, who plays the club's gay (of course) costume designer Sean. None of them are going home with an Oscar, but writer-director Steve Antin has written to their comic strengths and personas — Cher's sarcasm, Cumming's naughtiness and Tucci's gift for being snarky and good-natured. The results, while occasionally forced, are consistently amusing. ("What happened to all the great dancers?" Tess grumbles to Sean during an audition. "They're all dancing with the stars," he says.) (See TIME's Summer Entertainment Preview 2010.)

What the movie does have in common with Glitter et al is the problem of trying to convince an audience that the adult heroine — Aguilera is about to turn 30 — famous to all of us, really could be an undiscovered novice, or for that matter, an innocent. Actually, Burlesque faces a bigger challenge. Aguilera might not be to your taste, or mine (the musical numbers are lively but produced no urge to sing in the shower), but in terms of sheer power, she's impressive — a far bigger vocal talent than a Spears, for example. If Ali were real, she'd have already been discovered on American Idol.

Antin's solution is to run a bulldozer right over that obstacle and others (Bell can't dance? Shoot her from the waist up). During the opening credits, Ali, alone in a dive bar in Iowa, launches into Etta James' "Something's Got a Hold on Me." Fully amplified and laughable in its professionalism, the number instantly establishes that we have no need to fret about Ali's future. It's lulling, the narrative equivalent of Muzak. The rest of the movie follows suit, unfolding predictably but pleasantly. At Burlesque, Ali meets her primary love interest right off the bat, Jack the bartender (Cam Gigandet, a young Brad Pitt type), and is soon sleeping on his couch in tantalizing proximity. Jack is engaged, but his fiancée is conveniently out of town. (Watch TIME's video "The 2008 New York Burlesque Festival.")

In addition to finding fame and true love, there's also, surprisingly, a subplot involving the national real estate crisis. Tess and her ex-husband, Burlesque's co-owner Vince (the completely unnecessary Peter Gallagher), are facing foreclosure, which means we get to hear Cher grumbling about balloon payments. The local sleazy real estate mogul Marcus (Eric Dane) wants to buy Tess out, but she refuses. Ali's talent might bring in the punters and save the day, unless she's seduced by Marcus, who comes bearing glittering Louis Vuitton shoes and an opportunity to meet big-time producers. Should we be worried she'll let the club down? Not in this carefully cushioned star vehicle. "That one there," Sean says, gesturing at Ali, "she's beautiful on the inside as well."

[☡aɕk]

@ MaXtina : Merci pour ton avis, je suis content que pour le film le personnage Christina Aguilera est effacé pour laisser place à Ali :love:

[Lou-Lou]

MaXtina, le 25 novembre 2010 - 01:27, dit :

( C'était plein de grand-pères pervers)

:lol:

[Monophobia]

Citation

Cette comédie musicale avec Christina Aguilera et Cher, d’une naïveté affligeante, s’inscrit comme un divertissement gentillet sans aucune ambition.

L’argument : Une jeune rebelle de l’Iowa, débarque à Los Angeles sans le sou pour tenter sa chance dans le show-business. Elle se retrouve très vite engagée comme serveuse dans le cabaret Burlesque, tenu par la charismatique Tess, au bord de la faillite...

Notre avis : Ne soyons pas méchants, Burlesque est regardable. Il se suit. Mais non sans ennui ! Dépourvue d’intérêt, l’intrigue de la comédie musicale américaine de cette fin d’année (après Chicago ou Nine) n’a rien à raconter. Rien qui n’aurait pas déjà été dit mille fois ailleurs - en pire (Dancing girls) ou en mieux (Showgirls de Paul Verhoeven). Cette success story de cabaret d’une bouseuse de l’Iowa dotée de rage, de talent et d’un joli minois, cumule un autre handicap, ses dialogues. Tous d’une naïveté affligeante dans leur philosophie de comptoir, ils s’accompagnent en plus de personnages sans zone d’ombre, unilatéralement mous et sans aspérité. La palme revient au serveur tombeur qui devient l’ami de la nouvelle venue en ville, la peu farouche Christina Aguilera, et qui gravit, lui aussi, bien vite les échelons : il passe de meilleur pote au statut de boyfriend officiel. Il faut dire qu’à s’exhiber en débardeur ou torse nu, il ne pouvait en être autrement. Cette gravure de mode synthétise à elle seule toute la fadeur d’un script qui n’est là que pour faire baver les minettes qui en sont encore à acheter leur premier disque de Lady Gaga et séduire les fans homosexuels d’Aguilera et de Cher. Pour eux également, une poignée de personnages homos toc, une chanson de Marilyn ou de Madonna... C’est d’un convenu !

Pour son grand retour à l’écran, la chanteuse Cher vient cachetonner sans effort devant la caméra de Steven Antin avec lequel, pour la petite histoire, elle a partagé le même homme... le mogul David Geffen ! En vieille tenancière de cabaret respectée et respectable, elle auditionne, regarde ses recrues sur scène d’un air complice... Elle chante deux fois, notamment un slow sirupeux qui devrait faire l’objet d’un single. Elle ne fait rien d’autre, rien qui puisse en tout cas la remettre sur la voie des Oscar.
Cette ancienne actrice dramatique (Mask de Peter Bogdanvich en 1985) tombe bas alors que face à elle, Christina Aguilera, en ce moment en pleine guerre avec Lady Gaga pour s’imposer comme la nymphette (avec voix) trashouille de sa génération, ne vaut guère mieux. Elle s’agite souvent comme une grue, oubliant qu’à bientôt 30 ans, elle a passé l’âge de jouer à la jeune fille paumée qui découvre la grande ville et ses pièges. L’audacieuse chanteuse de Dirty (dans la vidéo, elle jouait à la femme traînée au milieu d’une meute d’hommes chiens du ghetto en rut) minaude et se croit souvent dans l’un de ses clips. Ce n’est pas comme cela qu’on devient comédienne !

http://www.avoir-ali...d_article=14986

Aie... ^^

Ce message a été modifié par Monophobia - 25 novembre 2010 - 19:20.

[Lacrymosa]

Franchement je doute que ce soit une critique objective http://forum.christinacenter.net/public/style_emoticons/default/mellow.gif Pauvre Christina !

[Lou-Lou]

Sa degage de la haine, sans etre mechant c'est surment ecris par un fan de Gaga (qui croit encore a cette stupide guerre entre Xtina/Gaga) ou un fan de Britney. Apres on sais pas si les critiques ont raison ou tord, nous on a pas encore vu le film on en reparleras quand on aurras vu le film, pour voir si les critiques ont vraiment eté durs ou juste ...

Ce message a été modifié par Lou-Lou - 26 novembre 2010 - 00:44.