Astérix and Obélix: God Save Britannia

This is my favorite French movie, it's nice or mixed.

The fourth (and final) live-action Asterix movie is definitely an improvement over its predecessor. Because not only is the story more faithful to its source material than Olympic Games ever was but because the movie keeps the focus where it should be: on Asterix & Obelix. The production values remain consistent as ever though I still think Take on Caesar had the best art direction of the quadrilogy and there are moments where I genuinely laughed heartily. However, as you can probably guess from the 2 stars I've given this movie, God Save Brittania bears the misfortune of not being very good, despite being miles better than the last movie. And not just because the damage was done, regarding Olympic Games being incredibly despised in France (to explain: this movie didn't make a lot of money at the box office and, ironically for a movie set in Britain, is the only Asterix movie that never got an official English dub. Sure enough, the live-action series seems to have died a quiet death, with Gerard Depardieu's attitude in recent years, leading up to rape accusations in 2018 pretty much preventing any chance of a fifth movie getting greenlighted anytime soon. Though even in this movie, it was a bit obvious at times that he was getting too old to keep playing Obelix). The main reasons behind it not being very good is the decision to add in elements from Asterix and the Normans into the story. While changes have to be made for cinematic purposes, and these elements are mostly faithful to that story, the scenes with the Normans feel incredibly disconnected from the main plot and seem to only exist to pad out the runtime. By the time this subplot ends, nothing of value is learned. Justforkix (who's not blond so that the writers could make a joke about him dying his hair blond) is just a tagalong who has little to no effect on the plot. And of course, the sense of humour relies less on wordplay and more on outdated pop culture references with the slapstick humour being more mean-spirited than in the books. Also, some idiot decided to make a pointless subplot about Asterix hitting on women, one of whom is his first cousin once removed's fiancee. Seriously, it's almost as if the writers thought the comic books were full of homosexual subtext and wanted to show how heterosexual this Gaulish hero is. When the comic books really don't have that much gayness and Asterix & Obelix are shown to clearly have crushes on women but prefer to live as bachelors. I'd have thought everybody would've learned their lessons by now to stop inserting love stories in Asterix movies that weren't in the book. While God Save Brittania has enough effort put into it to save some face for this long-running 70-year-old franchise, the damage that Olympic Games dealt to the series for a short time pretty much guaranteed that this movie would be the last time we'd see celebrities that if not necessarily French then are at least fluent in the language dressing up as Gauls, Romans & other nationalities as told by Frenchmen. I hope the CGI movies are as good as fans say it is.

It ay lost some good humor,but it still have the charm of previous entries in this franchise.

u got exactly as u expected from this movie set ur bar a bit lower pls :)

Definitely a little more reliant on slack references than past installments, the fourth entry in the 'Asterix' saga isn't bad family entertainment, and the 'Roman' spin on British icons is quite chucklesome. However, it lacks the energy and playfulness of 'Mission: Cleopatra'.

I didn't find as much to fault in this live action adaptation of Asterix comics as others. There was some appeal in seeing the slapstick from the comics, realized with the use of special effects. The 'badly synced dubbing' was not an issue for me, since the version I watched had subtitles instead.

La quatrieme adaptation des aventures d'Asterix et Obelix n'est pas catastrophique, loin de la. Elle est encore pire que ca : elle est ennuyeuse. Il ne se passe absolument rien. Le film est moins fidele que celui de Zidi, moins rythme que celui de Chabat et moins star-studded que celui de Langmann & Forestier. Que reste-t-il alors? Juste Fabrice Luchini qui disparait une grosse heure du film et Bouli Lanners qui arrachent des sourires polis. Laissez la franchise mourir, s'il vous plait.

Bon petit gag sur le the sinon sans plus...

Really funny...excellent!

La nueva entrega de la saga de Astérix y Obelix corre a cargo del, con esta proclamado como director de las adaptaciones de las Bande-Dessinée de René Goscinny (como ya hizo con "Le Petit Nicolas" (2009)), Laurent Tirard. Aquí se observa en el desarrollo mucha más soltura que en "Le Petit Nicolas", y esto es quizás lo que hace quizás pecar a la película: Tirard deja un poco de aprovechar los diálogos enormes de la base original de Goscinny en pos de un humor slapstick. Pero no deja de ser un trabajo genial, como Tirard nos tiene acostumbrado. Reúne a un festival de figuras del cine francés en poderosos secundarios como Catherine Denueve ("Belle de jour"), Dany Boon ("Bienvenue chez les Ch'tis"), Gérard Jugnot ("Les Choristes") y Valerié Lemercier ("Avenue Montaigne"). Es justamente esta última (que ya había brillado junto a Kad Merad en el "Le Petiti Nicolas" de Tirard) la que se roba la película en su histrionismo como el personaje de Miss Macintosh, que forma una dupla excelente junto al Obélix de Gérard Depardieu. Edouard Baer esta muy correcto como el nuevo Astérix y demuestra una vez más el gran poder de TIrard a la hora de seleccionar actores. Destaca la gran fotografía y la banda sonora de Klaus Baldelt, otra vez trabajando con Tirard. Recomendable: Levanta el Nivel de las últimas entregas de Astérix, con una buena historia, con un buen elenco y que te hace pasar un buen rato. Destaca Lemercier como el mejor personaje secundario de Astérix desde Roberto Benigni en "Astérix et Obélix contre César". Tirard baja un poco el nivel desde su brillante adaptación de "Le Petit Nicolas", pero sigue creando productos excelentes del cine francés para toda la familia.