Works as a decent urban thriller.
Alias Betty (2002)
Tomatometer
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Reviews Counted:51
Fresh:47
Rotten:4
Average Rating:7.2/10
Consensus: Alias Betty works both as a gripping thriller and as a precisely drawn character study.
Theatrical Release:Sep 13, 2002 Limited
Synopsis: Director Claude Miller was a protégé of Francois Truffaut, and the French master's influence is clear in this low-key thriller, based on the novel THE TREE OF HANDS by Ruth Rendell. Betty (Sandrine... Director Claude Miller was a protégé of Francois Truffaut, and the French master's influence is clear in this low-key thriller, based on the novel THE TREE OF HANDS by Ruth Rendell. Betty (Sandrine Kiberlain), a reclusive best-selling author and mother of a young son, is having a hard enough time dealing with a visit from her eccentric and self-involved mother, Margot (Nicole Garcia), who suffers from a blood disorder that occasionally makes her violent. Betty has the scars from her childhood to prove it. When Betty's son is suddenly and tragically killed, Margot doesn't seem very sympathetic. This story is intertwined with the story of Carole (Mathilde Seigner of WITH A FRIEND LIKE HARRY), the neglectful and abusive mother of Jose (Alexis Chatrian), who is about the same age as Betty's son. When Margot, in a deranged effort to help her daughter, kidnaps Jose, Carole's good-natured African boyfriend, Francois (Luck Mervil) is a prime suspect, and goes looking for the real kidnapper to clear his name. Miller deftly weaves an engaging and suspenseful tale in which characters of different classes and cultures pass through each other's lives. While some of them behave atrociously, Miller never forgets their essential humanity. [More]
Starring: Sandrine Kiberlain, Nicole Garcia, Mathilde Seigner, Edouard Baer
Starring: Sandrine Kiberlain, Nicole Garcia, Mathilde Seigner, Edouard Baer, Stephane Freiss, Yves Jacques, Roschdy Zem, Luck Mervil, Alexis Chatrian, Arthur Setbon
Director: Claude Miller
Director: Claude Miller
Screenwriter: Claude Miller
Story: Ruth Rendell
Producer: Yves Marmion, Annie Miller
Composer: Francois Dompierre
Studio: Wellspring
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Reviews for Alias Betty
It says a lot about a filmmaker when he can be wacky without clobbering the audience over the head and still maintain a sense of urgency and suspense.
[Miller] knows that good suspense films don't always need to keep viewers on the edges of their seats; sometimes they can just be concerned with what interesting characters will do next.
Claude Miller airs out a tight plot with an easy pace and a focus on character drama over crime-film complications.
Either a fascinating study of the relationship between mothers and their children or a disturbing story about sociopaths and their marks.
Mezcla de serie negra “a la francesa” con estudio sórdido sobre la maternidad, Betty Fisher posee la estructura cinematográfica que debe tener una película que entrecruza historias como si fueran piezas de un collage que, al final, se juntan.
Miller has crafted an intriguing story of maternal instincts and misguided acts of affection.
Some of what happens in Alias Betty is highly improbable. Yet Miller and his excellent cast sell the story by not overplaying their hands.
Miller makes the film's sometimes mechanical and giddy narrative into something grander -- a meditation on maternity as a form of inspired madness.
You could say that it's slow at times, you could say that a few of the characters act in ways that real people wouldn't, but one thing you couldn't say is that Alias Betty is predictable.
It's pithy without being saccharine; it's funny without ever not taking itself seriously; it's full of beautiful characters and great performances.
A dashing and absorbing outing with one of France's most inventive directors.
A provocative movie about loss, anger, greed, jealousy, sickness and love.
If this movie were a book, it would be a page-turner, you can't wait to see what happens next.
Miller is playing so free with emotions, and the fact that children are hostages to fortune, that he makes the audience hostage to his swaggering affectation of seriousness.
An ingenious and often harrowing look at damaged people and how families can offer either despair or consolation.
At heart the movie is a deftly wrought suspense yarn whose richer shadings work as coloring rather than substance.
Often shocking but ultimately worthwhile exploration of motherhood and desperate mothers.
| Tomatometer Percentage | Movie |
|---|---|
| 36% 36% | Angels & Demons |
| 25% 25% | Four Christmases |
| 68% 68% | Funny People |
| 95% 95% | Star Trek |
| 14% 14% | The Ugly Truth |
| Tomatometer Percentage | Movie |
|---|---|
| 32% 32% | Terminator Salvation |
| 44% 44% | Night at the Museum: B… |
| 86% 86% | A Christmas Tale |
| 60% 60% | Paper Heart |
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