CheerupSilver Very Cool!!!

RyothChatty ridiculous rating

Tacticalin An absolute waste of money

Delight Yes, absolutely, there is fun to be had, as well as many, many things to go boom, all amid an atmospheric urban jungle.

OJT Believable heart wrenching horrible unhealthy story about a mother too much in love with her son, smothering him with over-protection, and going even further. 12 year old Julien had his mother as best friend, or rather the opposite. He is his mother's best friend. She does not know when to let go, and she does not know when to give him the needed space, not understanding growing up and going into puberty, and the trauma the boy feels by this.Extremely well played by the two main persons. The mother is a mother from hell, played by a frightening Nathalie Baye. The father is ignorant to what goes on, being distant as many are. Julien, brilliantly played by Victor Sevaux, tries all he can to get away from home for a day or two, trying to make his mother love him less. It's painful to watch. When his sisters addresses that Julien is not happy and well, she is ignored.When mother finds a love letter to her son in the mail from his girlfriend Alice, she opens it with no hesitation, and reacts as jealous as it's possible to do. The sister tells, and he finds the letter shred to pieces in the junk. He's not allowed to do anything without the mother approving and telling in beforehand. And when he decides to show appreciation, she reacts like a psycho.But after a while Julien is driven into a corner, and decides to act...

Armand a mother. her family. and her son. scenes from a war. picture of a disorganized family. more than a film, a scale of tension, emotions, desires. because the possessive mother, the disobedient son, the absent father are only masks of a society. the refuges - football, grand mother piano lessons, the girl friend , career are fragile refuges. essence - nuances of fear. the fear of mother for future failure of Julien. the fear of father front of every day events. the fear of son , like fear of each teenager to be out of circle. and the seed of fear - different definition of love. nothing else. only a precise beautiful performance of each actor and the subtle picture of each piece of crisis. a cold movie. but suitable for everyday bruises.

Sindre Kaspersen 12-year-old Julien lives with his mother, father and sister in a French suburb. His strict activity calendar consist of school, piano lessons with his grandmother, dancing hours with his mother, soccer practice with the boys and homework. His sister studies, his mother is a housewife and his father comes home from work late at night. Besides his regular routines Julien spends time with his girlfriend Alice, but his routine based days are starting to wear him down, and when his mother finds out that his grades are decreasing she demands better results from her son. Julien tries to please his mother, but is unable to meet her demands. In time she becomes controlling, questions everything he does and forces him to lie to his friends so that she can spend more time with him. Julien feels trapped in his own home and decides to ignore his mother's demands. His mother is broken by her sons disobedience and starts humiliating her son. Julien's silent and distant father shows him little interest and attention, has no idea about what is happening and lives on like everything is perfectly alright. Julien continues to ignore his mothers demands, but doesn't realize the consequences of his actions. His mother reveals him again, and this time she deprives him of all social interaction with others. She can't tolerate his behavior and begins to abuse him mentally and physically. Julien is isolated in his home and his mental state is regressing.Martial Fougeron's steady, structural and stylistically directed psychological drama about child upbringing, is narrated mostly from the main character's point of view and is a dense and tense study of character of a tyrannical mother and her victimized son which is superbly acted by the whole ensemble, and especially by veteran actress Nathalie Baye as the mother and Victor Sévaux in his debut feature film role as the son. This distinctly photographed chamber piece where the dialog creates as much tension as the subtle editing, manages to maintain a persistent claustrophobic and foreboding atmosphere and is a highly concentrated thriller about a shattered French upper class family.

jandesimpson SPOILERS (with references to "Play Misty for Me", "The Manchurian Candidate", "Don't Look Now" and "Psycho 2" that could also contain spoilers)Cineasts seem besotted by "top ten" lists; ten greats, ten worst, ten desert island favourites; I could go on...However, by way of introduction to "Mon Fils a Moi" allow me to suggest another category; the greatest human monsters in cinema. Rather than boring you with ten, I've chosen a small group that I think are about the best. Possibly as I am male, it is the female ones that intrigue me the most. It was so much more unnerving to experience Clint Eastwood being pursued by a female slasher in "Play Misty for Me" than all those women fleeing deranged men with knives in endless dark house movies. And how about Donald Sutherland's fate at the hands of the dwarf in the red mac in "Don't Look Now", almost the only film that still really terrifies me, having got used to the terror in the Clint Eastwood work which is more a tragedy of unrequited love than a horror flick. Which brings me to the classification of the female monster into two broad types, the evil and the sick. The greatest of the evil must surely be Angela Lansbury in "The Manchurian Candidate" for whom no act could be too despicable in her pursuit of political and even world domination. I had always thought Jessica Walter in "Misty" the greatest of the sickos but can now record that she has been equalled by Nathalie Baye in a recent off-beat French work "Mon Fils a Moi" by Martial Fougeron, a director new to me. This is a minor but completely engrossing vignette of a dysfunctional family, all the more claustrophobic for being mainly confined to a small group of characters, mum, dad, adolescent daughter and son just entering puberty. They live in a respectable detached house in a quiet residential part of a provincial town. Dad is a college teacher, Mum a housewife, daughter about to go on to higher education and son just a boy, albeit not doing too well at school. As the film progresses we quickly realise that the boy's condition is far from normal. Not only are his grades bad but he is off his food. Almost from the beginning there are many telltale signs that the problem is Mum. Her pathological love of the boy is about to result in the disintegration of the family as she attempts to stifle every sign of his adolescent development. The more the boy tries to distance himself the more the mother retaliates by forcing him to relinquish his interests one by one. Eventually he is left in an almost empty room with nothing he can call his own. Even his beloved piano has been taken away by removal men. There is a particularly poignant moment where he uses his knees as a dummy keyboard. The daughter is the only one to retaliate on her brother's behalf but she hasn't the strength to cope with Mum's viciousness. Dad's defence mechanism is to ignore everything going on around him by immersing himself in work, but even he can hardly bear his wife's callousness after a party the boy attends against her wishes. Olivier Gourmet is particularly fine in his uncharacteristic part of a weakling. How true to type is his almost inevitable apology after delivering her a single blow. The director paces the film with the assuredness of a master. The increase in tension through gradually notching up the level of violence is the stuff of the truly outstanding psychological thriller. How will it all end? Just how much more can the son take before he snaps? Suffice to say that this must have have been one of the most extraordinarily difficult films to end without going over the top into melodrama. All the more reason to admire the last line in which Mum is quoted as saying she she has forgiven her son. Nathalie Baye's superb performance would suggest just the opposite, that there is no ending, and, as Norman Bates says in "Psycho 2", it could all start up again.