NEWSPAPER – If some regret that the long-awaited film by Alexandre Astier is aimed especially at fans of the series, the sharp dialogues and unbridled comedy hit the mark in the start of this Arthurian trilogy on the big screen.
Twelve years after the end of the television series and after multiple postponements, the first part of Kaamelott suitable for cinema is finally released in theaters. Directed by the Lyonnais Alexandre Astier, it is one of the most anticipated films of the year, or at least by fans of the series, as evidenced by the 206,000 tickets sold for the previews on Tuesday evening. Just before the entry into force, this Wednesday, July 21, of the health pass.
In 2009, Kaamelott was saying goodbye to TV after six successful seasons, but with the promise of one day returning to the big screen. It was held. Located ten years after the events recounted in the series, this first part tells how Arthur, the ex-King of Brittany, will try to unite his former companions to bring down the cruel Lancelot du Lac, who took power in his absence . In the cast, fans can find all the old-timers of the series, such as Alain Chabat, Christian Clavier, Antoine de Caunes, Géraldine Nakache or Audrey Fleurot, but also discover newcomers such as Sting and Guillaume Gallienne.
Our journalist Olivier Delcroix savored with pleasure Kaamelott – first part , who “now has enough to go beyond its character as a televisual phenomenon to become a social phenomenon“, Because the film”continues to use unbridled comedy for years Pilot and references to global pop culture“. Winks that also pleased the Parisian, where we observe that the film is “stuffed with references to pop culture that insiders will be happy to uncover.[…] In the meantime, to measure all the subtleties, we almost want to see it a second time“.
In Le Figaro , we also appreciate the originality specific to Kaamelott, who refuses “To play in the backyard of franchouillarde summer comedies”. Conversely, “This pastiche of clichés from the Middle Ages traces its own path”. “Kaamelott changes gear. Everything is bigger, more beautiful, longer»According to our confers, for whom this first part is “A treat that shifts astray between the Sunday picnic and the Lyon-style banquet”.
If the series was already “a burlesque, genius, unprecedented, virtuoso work, served by a unique humor“, The passage through the cinema allows to add”a new ingredient, absent on the small screen: emotion», Analyzes Jean-Christophe Buisson in Le Figaro Magazine. In the JDD as in the Parisian, we recognize that the film puts “Full eyes” thanks to “Meticulous images, fluid staging, stylized sets and costumes, special effects” for the first, and by his “crazy landscapes, epic music and polished aestheticsFor the second. 20 minutes shares this observation: the sets and the costumes “Bring an epic breath and make this fresco a delight for the eyes, the ears and the mind”.
“Epic“,”fuck“And”hilarious“, Kaamelott also shines by its dialogues and characters. For Jean-Christophe Buisson, “The good words fuse and sparkle, the silly sentences are linked, the stupid games with incomprehensible rules multiply, the nods to the great French comedies follow one another”. In 20 minutes, “We happily find the heroes of the series in a spectacular fresco”, while in the columns of First, we admit “Sometimes laugh very frankly, thanks to calibrated lines and the intact slaughter of certain characters”.
However, if Alexandre Astier has assured in numerous interviews that his film would be accessible to the uninitiated, many do not share this opinion. In the JDD, we recognize that “It is especially the fans who will appreciate the misadventures of this first part”, and “the neophyte can get lost in a sprawling intrigue “. Same thing for 20 minutes, which admits that “neophytes may still feel a little lost” and for Telerama, for who Kaamelott is “less a full-fledged movie than a gift for fans“.
Finally, if the passage from television to cinema convinces most of the critics, some regret that the director has remained a little too much in a television spirit. “Few tracking shots, little depth of field, little movement. […] Some scenes thus look too much like very elongated episodes, which do not fit well within two hours.“, valued First. For Telerama, impossible to miss the “Patent staging weaknesses”, “Without relief as well as the assembly, expeditious”. In The world, Jacques Mandelbaum notes the references to Monty Python from Sacred grail and the HBO series, Game Of Thrones. “Clearly drawing from both, Kaamelott is however devoid of the eccentric madness of the first as well as of the epic scale of the second”, writes the critic of the evening newspaper, noting that the specificity of this comedy lies elsewhere. It is above all due to the spirit of Alexandre Astier. “Kaamelott passes for its author from the stage of soft madness to that of hard madness, second skin, existential lining ”, he rightly notes. So “long live King Arthur!», Concludes 20 minutes.