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an unnecessary but welcome remake

Cut! is the French remake of ‘One cut of the dead’, a Japanese horror comedy. A tribute that maintains the essence of the original and that premieres this Friday, November 4.

Cut! is the living example that it is possible to make remakes of popular filmsespecially when a film with a unique concept becomes successful and even when it was released relatively recently. In fact, it is surprising precisely that Cut! is a remake of a 2017 audience-loved Japanese film called ‘One cut of the dead’, a horror comedy about a film crew making a zombie horror film. A funny and intelligent film, as well as a poignant tribute to the difficulties of cinema, it is a truly stimulating experience that will please any viewer. The release of a new version, especially for a well-loved foreign film, is often accompanied by the uncertainty that the new version will not achieve what made the original so memorable. However, Cut! it’s a thankfully moderate adaptation from the Oscar-winning director of ‘The Artist’, Michel Hazanavicius, that manages to balance a reverence for the original film while introducing several new elements that don’t feel out of placebut they enrich the tape even more.

Cut! adopts the same general premise and narrative structure as its counterpart: Remi, a three-quarters director whose motto is “quick and cheap”, is recruited by his producer Mounir to shoot a 30-minute zombie movie in one take for a new genre channel Z. L The opening scene of the film will show the result of the production before going back to document how it was all done from the beginning.

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Enriched tribute

Vertigo Films

A vital component of Cut! is the recast of Yoshiko Takeharathe producer Madame Matsuda, which allows the remake to remain as faithful as possible to the original Japanese script, as well as rendering a small tribute. It is one of the smartest decisions made in terms of the film as the wink feels like director Hazanavicius’ way of reassuring the skeptics, being aware of how much they adore the original characters. Besides, it wisely chooses not to alter various elements of Ueda’s output, as characters and conflicts can be. These are transmitted verbatim and they add another layer of comedy to the French tape because of the cultural difference. For example, the adaptation of the Japanese script to a more Europeanized script is considered in the film itself, which leads to very funny recurring jokes. Many of the characters’ preoccupations are revisited and new ones, such as sound engineer Fatih (Jean-Pascal Zadi) who grows more and more bewildered as the production unravels, provide plenty of guaranteed laughs.

The original idea of ​​the audience seeing the finished product with all the awkward pauses and delayed reactions works just as well in the French remake as in the Japanese original. The film’s silly sense of humor remains its main draw, and it’s certainly not lost on Cut!.

Criticism of [REC] TERROR WITHOUT PAUSE, the documentary

Criticize to criticize

Vertigo Films

Yet Cut! manages to respect, honor and introduce new elements, it is not enough to justify the need for a new version and it is fair that this is criticized. However, I’ve seen complaints that the new movie is a mediocre copy or an unoriginal rehash and I don’t think they’re right at all. No matter what Cut! doesn’t completely depart from the success of the first film, the comedy and love of cinema is still theremaking it more or less worth watching.

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