Lucybespro It is a performances centric movie

Console best movie i've ever seen.

Tymon Sutton The acting is good, and the firecracker script has some excellent ideas.

Sarita Rafferty There are moments that feel comical, some horrific, and some downright inspiring but the tonal shifts hardly matter as the end results come to a film that's perfect for this time.

LateNightBrain After my first experience with this film I really didn't know how to feel about it. I laughed a lot, but felt guilty because a lot of what I was laughing at was quite disturbing, and would make the average viewer appalled. With that said, this film is not for everyone, but boy, after multiple viewings, it never ceases to make my eyes water, and belly ache.A rather large and overweight 40-something gay man living in the French countryside has an affair with a teenage girl, only to be pursued by the town authorities and the girl's belligerent father. They run away together, evading everyone however they can. The most lasting visual I have from this film is the overweight gay man spending much of his time running through the countryside half naked. And just because he's overweight doesn't mean he can't pull it. This man can run.I won't tell much more. Get this film if you can. Like I said, it's strange, it's disturbing, but if you have a sense-of-humor that journeys to the left of center, I'm sure you'll get something out of it.Great cast. Well directed. Beautifully shot. Ludovic Berthillot and Hafsia Herzi shine in the two lead parts.

ys_to_ny When I first read about the movie, I thought I might be bored, but I was wrong. The movie is very funny, from beginning to end. The humor is sometimes slight, sometimes obvious, sometimes verbal, sometimes visual. The plot is original and rich. The hero is a gay man in his forties, leading stagnant life, not necessarily fulfilling, but not miserable either. Several things happen that cause him to doubt himself, and develop midlife crisis. He's attempting to make some drastic changes in his life, and goes though a comic journey of finding himself. Although the hero is gay, the story conveys a message that is universally appealing, for gay and straight viewers. Very enjoyable movie!

didier-20 I had to sleep on this film to really get it.What happens: An utterly french form of cinematic licence generates classic and true surreal humour. A playful narrative reversal based on an all prevailing rule of 'what if' . What if: 1.You take a common narrative - the straight married man's midlife crisis leads him to seek comfort in a gay friend and question his sexuality - and reverse that to a partnered non-monogamous gay man has a midlife crisis and seeks comfort in an affair with a teenage girl. 2.You take a common cinematic portrayal of the gay man as young, good looking, urban, sophisticated and inverse that to one of a fat, perhaps unattractive, unsophisticated, small town (straight butch role of) tractor dealer. This narrative inverse generates the unusual context from which we shall experience provincial french life. From that point, the logic of questioning 'possibility' itself quickly accelerates and dominates the film. What if the Conservative catholic small minded provincial France commonly portrayed as the real France allows for men to commit sodomy and fellatio each other as a matter of course ? What if sex is made predominant on all levels of provincial France - gang rape, gay cruising, underage sex, etc so that in the end the 'what if' logic runs out of control and poses the ultimate question, at what point should one stop undoing expectation and to what extent, if you reverse all expectation, do you alter reality ? The excessiveness of narrative reversal turns out to be a classic surrealist strategy.The English translation of this film is "The King of Escape' - but a better translation would be 'The king of evasion'. Armand carries with him this honour despite on many occasions appearing to look like the ultimate loser. He spends most of his time literally running around France in nothing but his underpants. The question of evasion is central to the purpose and intent of this film. The evasion of expectation at any cost. Armand's midlife crisis embodies that reflex - indeed you could argue all psychological crisis is a play off between the need for confrontation and the desire to escape. The film goads conservative France with a relentless uncomfortable matter of fact explicitness. In doing so it forces both hidden realities and fantasies to the fore. A deceptively simple film turns out to be a clever well thought out and powerful form of speculation about how we implicitly engineer society.

Chris Knipp In this version of a mid-life crisis story, Alain Guiraudie takes up the adventures of Armand Lacourtade (Gallic film vet Ludovic Berthillot), a well-liked and successful 40-year-old gay tractor salesmen in the South of France who falls by chance into the opportunity to try batting for the opposite team, when he rescues a 16-year-old school girl from some toughs and she falls for him.Armand is fed up with the limited provincial gay scene and his roommate's preference for roadside tricking with decidedly older dudes. He's taken to binge eating and napping on the job and his previously very satisfied boss wants to give him a vacation. Then Armand buys off the toughs who're about to rape the sultry, dark Curly (Hafsia Herzi, a beautiful 20-something who had a key role in Abdel Kechiche's Secret of the Grain), and a world of new opportunities opens.Before long things get complicated and then more complicated still. Armand's association with Curly draws the unwanted and decidedly disapproving attention of a tall, thin, black-suit-clad Commissioner (François Clavier), as well as Curly's mean dad (Luc Palun). Curly experiments with an aphrodisiac root (also used by out-of-control village officials) to get it up under these new circumstances, but for quite a while he and Curly are too often being harassed or pursued to be able to get it on, though when they finally do, the movie gets pretty graphic. Mad chase scenes frequently show Armand running around the southern French provincial countryside clad only in bikini briefs. For a man who's distinctly overweight, Berthillot is certainly in excellent shape. Not body-shape, stamina-shape.Armand meanwhile is also being pursued by an older gay man, a fellow of prodigious sexual appetites who at 70 (but he looks 80!) still wants daily lovemaking, and once satisfied his wife on a daily basis (he tells us all this and more). Due to simplistic morals laws the Commissioner puts a plastic electronic tracer bracelet on Armand, and that makes the chase eventually turn into a manhunt involving cops, private citizenry, and a helicopter -- all about nothing in particular. One of the main troubles with Guiraudie's wild adventure is that arresting moments and good dialogue can't save his scenario from remaining a meaningless tangle.Two popular outlets of French hipness, Cahiers du Cinéma and Les Inrockuptibles, published reviews praising Le roi de l'évasion ecstatically. "A hilarious, festive and liberating tale carried along by an exceptional cast" wrote Serge Kaganski in "Les Inrocks." "The hedonistic outlook makes for the gentlest film French cinema is capable of," raves Eugenio Renzi in Cahiers. "One leaves The King of Escape full of wonder," he goes on, "with the impression of having learned to desire all bodies." The latter comment is inspired by the final scene in which a bunch of naked fat middle aged and old gay men are all in bed cuddling.Whether this teaches us to love, or stimulates repulsion, is another question. This is, after all, a comedy, and an oddball, sometimes shockingly crude, one at that, which often seems merely frantic and inexplicable rather than hilarious -- or liberating. It's particularly hard to perceive as liberating images of a 16-year-old girl having sex in the woods with an over-weight middle-aged man in a manner that is not to her liking. In the end, Curly doesn't get very much of value out of all this, and Armand escapes negative consequences a little too easily after his (spoiler alert!) essentially pointless experimentation has taken him pretty much back to where he started.The positive French reactions (though of course not all were positive) can be explained when one reads another comment (from the editors of Ouest France) that Guiraudie's film style is "Rabelaisian." Through that lens, Armand's nude cavorting round the countryside begins to make sense and seem positive. However, neither Guiraudie nor his co-authors Laurent Lunetta and Frédérique Moreau is within twenty thousand leagues of being on a par with Rabelais. Lauent seems a bit too uncertain a hero to make for a true celebration of life. Call me limited, but the message I get out of this movie is that you don't know for sure if you're gay or not till you've tried straight sex; though I'm not sure any gay person needs to know this. I'm also wondering if this offhand, cliché-free celebration of gayness doesn't wind up being unintentionally homophobic. This not only isn't Rabelais; Rabelais doesn't play any more. From the modern point of view these characters are drawn too sketchily, and none of the action ever seems remotely real. Perhaps fortunately.Opened June 15, 2009 in Paris to fair reviews. Shown as part of the Rendez-Vous with French Cinema at Lincoln Center, March 2010.