The platforms are obviously determined not to let holidaymakers go without provisions, hence the rich harvest of the week. In his bag, we could just as easily fit a surprising series of anticipation as the British remake of a classic of French cinema, the new Marvel series, as well as an ironic and lucid look at the life of an American housewife at the time. by Ronald Reagan.
“Sweet Tooth”: a naive, tragic and charming apocalypse
The apocalypse market is saturated. Nuclear, interplanetary, climatic or viral, we see as much going from one platform to another as advertising for hearing aids at the hyphenation of “Question for a champion”. From this overabundance was born a mistrust that Sweet Tooth comes to shatter. Adapted from a comic by Jeff Lemire by a director and screenwriter from independent American cinema, Jim Mickle, the series features the adventures of Gus (Christian Convery), known as “Sweet Tooth”, a mutant child born in the height of the pandemic that has swept away the majority of humanity. Gus is not the only mutant. The little boy wears deer antlers, others mix a human figure with pig, sheep or feline features. Raised away from what is left of male society by a suspicious father, Gus must eventually leave his refuge.
If we list the ingredients of the series – a very cute young hero, a sidekick, ex-American footballer converted into hybrid hunting, much nicer than he looks (Nonso Anozie), a young guerrilla who wants to come to the aid of the mutants, a paramilitary organization which seems to return from the Capitol the day after January 6, we will have no idea of the originality and charm of Sweet Tooth. These are due to the grace and fluidity with which Jim Mickle (who also directed more than half of the episodes) and his team balance terror and naivety, the intoxication of fiction and the weight of prophecy, for produce a story that owes as much to Mark Twain as it does to Richard Matheson. Thomas Sotinel
“Sweet Tooth”, series created by Jim Mickle with Nonso Anozie, Christian Convery, Stefania LaVie Owen, Adeel Akhtar (United States, 2021, 8 x 50 min). Netflix, on demand.
“The Beast Must Die”: revenge is a dish that heats up
There is of course the pleasure of finding actors with familiar faces, failing to know their name: Cush Jumbo, amazing Lucca Quinn in The Good Fight, Jared Harris, seen in Chernobyl, and even Billy Howle, who plays among others in The snake. There is also the curiosity to see the novel by Cecil Day-Lewis, already adapted by Claude Chabrol in 1969, transposed on the Isle of Wight today. Is this enough to place The Beast Must Die above the annual batch of British thrillers? We may love them – especially their actors, when they are English – detective series by nature tend to combine the same ingredients in all fashions.
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