Annie

Si certains numéros ne manquent pas de dynamisme, ils témoignent aussi des limites vocales de plusieurs interprètes. 

I'd say Annie was the big disaster of the holiday season were it not for the fact that it's just so bland and forgettable that it doesn't even make a big enough impression to inspire hate. It's just a nothing film, and one that will likely be forgotten once the kids open their presents X-Mas morning.

(...) updating the Depression-era tale to NYC 2014 is a really dumb idea. (...) You can almost see him behind the camera shouting, "More stupid! More shrill!"

In the end, Annie is miraculous for just two reasons. Not only does it make you not care about an abandoned orphan, but you're even nonplussed when she finally finds a family, too.

This Annie won't win any awards for subtlety, much less filmmaking elegance. But a great deal of imagination has been put into it, along with a lot of heart.

Musically, Annie is a disaster. The melodious original score by Charles Strouse and Martin Charnin gets the full-on Autotune pap treatment, which takes to these songs about as well as a lute to death metal. 

Every ounce of charm has been pulverized out of the musical in a strained effort to drag it into the social-media age.

Dans le rôle-titre, Quvenzhané Wallis offre une prestation tout à fait charmante, irrésistible, sympathique et lumineuse (...) Malheureusement, on ne peut pas dire en autant des performances de Jamie Foxx et Cameron Diaz, caricaturaux et mièvres à souhait.

But in all the ways that matter it's a missed opportunity to take a flawed musical and transform it into a powerful new myth with a particular African-American slant. The black angle is neutered, and the movie not just a dud but a humiliation.

Trop de vacarme pour redonner vie à un classique.

Les admirateurs de la comédie musicale risquent aussi de crier à l'hérésie quand ils entendront les nouveaux arrangements musicaux. Ils découvriront toutefois trois nouveaux titres d'assez belle tenue.