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4.913 of 10 (103 reviews)

HD Movie min

The Empire - Watch Movie

The Opal Coast, northern France. In a quiet and picturesque fishing village, something finally happens: a special baby is born. A child so unique and peculiar that it unleashes a secret war between extraterrestrial forces of good and evil.

Type:

Movie

Genre:

Science Fiction, Comedy, Drama,

Release Date:

Feb 21, 2024

Director:

Bruno Dumont,

Writer:

Bruno Dumont,

Cast:

Brandon Vlieghe, Anamaria Vartolomei, Lyna Khoudri, Camille Cottin, Fabrice Luchini, Julien Manier, Bernard Pruvost, Philippe Jore, Annie Tardivon, Marie Vasez, Cédric Fortin, Annick Lefevre, Tony Devanne, Giovanny Dupetit, Giovanni Boutillier, Olivier Delattaignant, Bruno Darras, Gino Evrard, Annick Bultel, Natacha Oliviera Da Costa,

Latest Reviews

Brent Marchant 15/05/2025

When a film seeks to tackle such distinctive comedic forms as parody, satire or slapstick, the creators first need to make sure that what they’re hatching truly works. But, in the case of this latest offering from storied auteur Bruno Dumont, the mark is missed by a wide margin. This alleged take-off on classic space operas like the original “Star Wars” trilogy or “Spaceballs” (1987) simply doesn’t cut it, primarily because it just isn’t funny. Perhaps that’s due to the fact that the filmmaker doesn’t seem to be clear on the direction he wants the story to take or the tone with which it’s presented. In a nutshell, two alien species – the Ones (champions of good) and Zeroes (disciples of evil) – have been exiled to Earth (why and by whom is never made clear), where they’re battling one another to win over the control of humanity through their ground zero strongholds in a small French coastal fishing village. But, in telling this tale, Dumont’s paper-thin narrative meanders aimlessly, blending a bland mixture of lame humor (most of which falls positively flat), bombastic but innately shallow soliloquies on the nature of good and evil, unexplained Monty Python-esque absurdist imagery, and gratuitous sexual encounters that appear to be thrown in for little more than titillating filler. To its credit, the picture effectively employs some truly impressive special effects, an eclectic background score based largely on reworked neo-classical arrangements of the compositions of J.S. Bach and Henry Purcell, and a production design that incorporates set designs drawn from Gothic and Renaissance European architecture. It also features a wealth of stunningly gorgeous cinematography, although a number of overlong shots (particularly many inexplicably filmed from too great a distance) could benefit from judicious pruning. So what exactly is the director going for here? Damned if I know. If it’s satire, its symbology is seriously undercooked. If it’s a campy romp, it’s too understated. If it’s screwball comedy, the pacing is too sluggish. And if it’s insightful social commentary, it’s too superficial and doesn’t take itself seriously enough. In essence, “The Empire” may offer some segments that are nice to look at, but that’s about all, considering that the bulk of this release, in the end, really has nothing interesting, meaningful or piquant to say.

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