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Load of rubbish!!

Excellent, Without a doubt!!

Did you people see the same film I saw?

If the ambition is to provide two hours of instantly forgettable, popcorn-munching escapism, it succeeds.

For me, Mickael is the first talented funny guy in France. In a way, he is the De Funès of the XIth century because i'm sure to laugh loudly at everything he does ! Sure his childish humor isn't clean or intellectual spoofs but at the end, it's bull-eye as I laugh and that's the essential ! Here, he makes fun of the showbiz and especially the rap industry ! In a way, as this world is really superficial and nearly illiterate (a paradox for writing lyrics), the ideas come easily. As a director, Mickael is also inspired as the movie pulses and doesn't give headaches ! He is also a brilliant casting director because the Canadian humorist is good as his nemesis and Furnaro is indeed a sublime girlfriend

The movie can really be split in two parts.The first one is fast-paced, full of Youn-ish humor that mixes rap clips, exaggerating slang/ghetto talks, childish humor, parody of classic comedy moments and finally some genuine characters he has the secret to create. This part should have been the complete movie by extending the 45min into full length, and I would have given 10 stars, honestly. And this could have been made possible only by adding more music clips parodies and slowing down the pace sometimes.But for some reason Youn wanted to shoot himself in the foot.The second part is terrible to watch. The plot twist comes out of nowhere, vaguely related to one of Youn/Fatal song. Its slow pace, Swiss context (which is not Savoie, btw) does not match at all with the characters, even thought this was on purpose, are disappointing in so many ways I am not even describe to not re-think too much about it.One advice: stick to the first part.

I've read the other comments prior to add this one, and I feel exactly the same as so many viewers : this film has more style, more energy, better acting, scenario, substance and FUN than it merely suggests. Not mentioning the music, Mickaël Youn style (ah, that roaring "fous ta cagoule!")In a nutshell : Fatal Bazooka has been for years the best, baddest, most adulated French rapper ; he's got everything : super-trophy wife (that body!), a monster truck to drive in ordinary traffic, an enormous estate... He wears the largest gold chains, the weirdest attires... But his producer, feeling a need for change, decides abruptly to dump him for another, new, fresh star in the making, Chris Prolls (Fantastic Stéphane Rousseau)...After a period of utter demise (hilarious), fatal goes back to his roots, which are in Haute-Savoie, in the Alps...From there he'll have to prepare his revenge.In fact everything, every scene in this film is funny in one way or another...When Mickaël Youn is in his element, and he clearly is in this film, he is wonderful.And the music, as usual with him, ain't bad either, just by judging the hit that "fous ta cagoule" has been.A very, very good comedy...At the level of the best ones from the States.

This is actually a very entertaining and, if certainly not intellectual, then nevertheless still thought-provoking movie.It is the story of a young man from the picturesque Haute Savoie region of southern France who passes himself off as a ghetto rocker/rapper, and builds a huge career as a flashy rapper. It's all fake, though, and that's what this movie is about: the superficiality of manufactured successes in modern pop music.At one point, when Fatal's real story is exposed, there is a moment of truth telling: Fatal and his rival express their real feelings to their public. This could easily have become a made-for-TV mess at this point. But it doesn't, because it realizes that audiences don't really want sincerity, they just want the latest manufactured hype.Not a great movie, certainly, but a very entertaining one with some intelligent ideas well worked out. An American version of this could be very entertaining as well, but I find it hard to believe an American producer would allow it to be this cynical about the nature of modern music audiences.