“You don’t choose your ancestors!” Cocorico, the feature film by Julien Hervé traces the story of Alice and François (Chloé Coulloud and Julien Pestel). About to get married, the two lovebirds bring their parents together to tell them the news. The future spouses take the opportunity to offer them an original gift to say the least: a DNA test. The latter will allow them to know more about the origins of their ancestors.
The large aristocratic family of Bouvier-Sauvage and the modest Martins, all obsessed with their Frenchness, discover the results... What should have been a joyful family reunion turns into a fiasco. Carried by Christian Clavier and Didier Bourdon, the result of the comedy, released in theaters on February 7, does not convince the critics.
The feature film is displeasing above all for its lack of inventiveness. At Télérama, Marie Sauvion deplores “a festival of French and heavy-handed nonsense” of characters “suddenly discovering German or Portuguese ancestry”. And if it was possible to expect a variation of the first name, this is not the case for François Léger. “Julien Hervé, director of Doudou in 2017 and co-writer of Tuche, does not have the nastiness of Alexandre De La Patellière and Matthieu Delaporte. We then have to endure weak and uninspired taunts,” he writes in the columns of Première.
The magazine Les Inrockuptibles, which denounces the ridiculous depoliticization of the feature film, sums up the production in one word: scam. “To settle the score against xenophobia without leaving the Schengen area, we had to dare. As if the choice of neutralized targets, of people with whom “we have the right”, gave the film a license to no longer think about anything and to freely relieve itself of its most diverse insanities and to avoid only delicate subjects,” criticizes Theo Ribeton.
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If it does not seduce the crowds, Cocorico nevertheless managed to bring together Clavier and Bourdon, the two pillars of French comedy, for the first time on screen. For the best ? Not really, explains the unanimous critics. “Christian Clavier slips into a costume that he knows by heart, Didier Bourdon follows suit, but the clash between an ex-Splendid and an ex-Unknown does not explode the frame,” analyzes Fabienne Bradfer for Le Soir. “For their duel at the top, Clavier and Bourdon should have expected something better than such a sluggish pretext,” regrets Marie Sauvion in Télérama. Hubert Heyrendt of La Libre deplores “a free-wheeling, self-parodic Christian Clavier, in a similar role of contemptuous aristo”.