{"id":122930,"date":"2025-05-23T21:22:09","date_gmt":"2025-05-23T21:22:09","guid":{"rendered":"https:\/\/www.europesays.com\/fr\/122930\/"},"modified":"2025-05-23T21:22:09","modified_gmt":"2025-05-23T21:22:09","slug":"notre-critique-de-the-mastermind-braquage-a-lamericaine","status":"publish","type":"post","link":"https:\/\/www.europesays.com\/fr\/122930\/","title":{"rendered":"notre critique de The Mastermind, braquage \u00e0 l\u2019am\u00e9ricaine"},"content":{"rendered":"<p><strong>COMP\u00c9TITION &#8211;<\/strong> Kelly Reichardt revient sur la Croisette avec un film de braquage en forme de ballade jazzy nostalgique. En voleur d\u2019\u0153uvres d\u2019art \u00e0 la petite semaine, Josh O\u2019Connor cr\u00e8ve l\u2019\u00e9cran.<\/p>\n<p class=\"fig-paragraph\">Tu parles d\u2019un cerveau\u00a0! Le h\u00e9ros de The Mastermind, J.B. Mooney, a plut\u00f4t l\u2019air d\u2019un vieil ado trop vite pouss\u00e9 en graine. Il faut reconna\u00eetre qu\u2019au tout d\u00e9but des ann\u00e9es 1970, \u00e0 Framingham, riant patelin au fin fond du Massachusetts, les distractions ne sont pas l\u00e9gion. Le week-end, ce menuisier au ch\u00f4mage entra\u00eene sa petite famille au mus\u00e9e d\u2019art de la ville. Avec la concentration de Jim Phelps dans la s\u00e9rie t\u00e9l\u00e9 Mission\u00a0impossible, ce papa nonchalant, qui se prom\u00e8ne souvent les mains dans les poches (<a href=\"https:\/\/www.lefigaro.fr\/culture\/josh-o-connor-un-prince-charles-plus-vrai-que-nature-20201120\" data-fig-type=\"Article\" data-gtm-custom-categorie=\"navigation\" data-gtm-custom-action=\"crossclick\" data-gtm-custom-label=\"Contextuel\" data-gtm-event=\"customEventSPE\" data-fig-domain=\"LEFIGARO\" rel=\"nofollow noopener\" target=\"_blank\">Josh O\u2019Connor<\/a>, formidable de nonchalance flegmatique), profite de l\u2019inattention des gardiens pour d\u00e9rober la statuette d\u2019un petit soldat de bois dans une vitrine poussi\u00e9reuse.<\/p>\n<p class=\"fig-paragraph\">Une fois commis leur forfait, les jumeaux, sa femme (Alana Haim, \u00e9patante), et ce p\u00e8re \u00ab\u00a0mastermind\u00a0\u00bb ressortent de l\u2019\u00e9tablissement d\u00e9contract\u00e9s. Le h\u00e9ros prenant m\u00eame le temps de refaire ses lacets devant le cerb\u00e8re du mus\u00e9e. La situation se corse lorsque J.B. Mooney, fils incompris du juge de la ville\u2026<\/p>\n<p class=\"fig-premium-paywall__infos\">\n        Cet article est r\u00e9serv\u00e9 aux abonn\u00e9s.        Il vous reste 69% \u00e0 d\u00e9couvrir.\n    <\/p>\n<p>                <img  data- alt=\"Le Figaro\" class=\"fig-img--complete fig-img\"\/><\/p>\n<p class=\"fig-premium-paywall__title\">Vente Flash<\/p>\n<p class=\"fig-premium-paywall__subtitle\">4,99\u20ac par mois pendant 12 mois. Sans engagement.<\/p>\n<p class=\"fig-premium-paywall__connect\">\n                D\u00e9j\u00e0 abonn\u00e9\u00a0?                <a class=\"fig-premium-paywall__connect-link\" href=\"https:\/\/connect.lefigaro.fr\/login?client=horizon_web&amp;type=main&amp;redirect_uri=https%3A%2F%2Fwww.lefigaro.fr%2Ffestival-de-cannes%2Fcannes-2025-notre-critique-de-the-mastermind-braquage-a-l-americaine-20250523\" data-js-gtm=\"{&quot;customCategorie&quot;: &quot;conversion&quot;, &quot;customAction&quot;: &quot;before_Landing_Connexion_paywall_auto&quot;, &quot;customLabel&quot;: &quot;bGVmaWdhcm8uZnJfXzFmMDM3YTVjLTA3MGUtNmM2OC1hOTM3LWU5NjE3MmQwMzI0NV9fQXJ0aWNsZQ==_Cannes 2025\u00a0: notre critique de &lt;i&gt;The Mastermind&lt;\/i&gt;, braquage \u00e0 l\u2019am\u00e9ricaine_310&quot;, &quot;customIDSPE&quot;: &quot;bGVmaWdhcm8uZnJfXzFmMDM3YTVjLTA3MGUtNmM2OC1hOTM3LWU5NjE3MmQwMzI0NV9fQXJ0aWNsZQ==&quot;, &quot;event&quot;: &quot;customEventSPE&quot;}\" rel=\"nofollow noopener\" target=\"_blank\"><br \/>\n                    Connectez-vous<br \/>\n                <\/a>\n            <\/p>\n","protected":false},"excerpt":{"rendered":"COMP\u00c9TITION &#8211; Kelly Reichardt revient sur la Croisette avec un film de braquage en forme de ballade jazzy&hellip;\n","protected":false},"author":2,"featured_media":122931,"comment_status":"","ping_status":"","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[1354],"tags":[7306,650,7307,58,59,5634,1346,1011,27,24532,11584,1360,11586,11585],"class_list":{"0":"post-122930","1":"post","2":"type-post","3":"status-publish","4":"format-standard","5":"has-post-thumbnail","7":"category-films","8":"tag-cannes","9":"tag-cinema","10":"tag-croisette","11":"tag-divertissement","12":"tag-entertainment","13":"tag-festival-de-cannes","14":"tag-films","15":"tag-fr","16":"tag-france","17":"tag-jean-paul-belmondo","18":"tag-montee-des-marches","19":"tag-movies","20":"tag-palme-dor","21":"tag-prix-du-jury"},"share_on_mastodon":{"url":"https:\/\/pubeurope.com\/@fr\/114559251117177315","error":""},"_links":{"self":[{"href":"https:\/\/www.europesays.com\/fr\/wp-json\/wp\/v2\/posts\/122930","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.europesays.com\/fr\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.europesays.com\/fr\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.europesays.com\/fr\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/www.europesays.com\/fr\/wp-json\/wp\/v2\/comments?post=122930"}],"version-history":[{"count":0,"href":"https:\/\/www.europesays.com\/fr\/wp-json\/wp\/v2\/posts\/122930\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.europesays.com\/fr\/wp-json\/wp\/v2\/media\/122931"}],"wp:attachment":[{"href":"https:\/\/www.europesays.com\/fr\/wp-json\/wp\/v2\/media?parent=122930"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.europesays.com\/fr\/wp-json\/wp\/v2\/categories?post=122930"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.europesays.com\/fr\/wp-json\/wp\/v2\/tags?post=122930"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}