tour de force imdb

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Tour de Force

Tour de Force creates a movie based on your life, based on how you perceive your life, and puts you in that movie. Two employees struggle to find the drama in a client's particularly banal l... Read all Tour de Force creates a movie based on your life, based on how you perceive your life, and puts you in that movie. Two employees struggle to find the drama in a client's particularly banal life story, instilling in that client a sense of doubt, risking in him an emotional breakdo... Read all Tour de Force creates a movie based on your life, based on how you perceive your life, and puts you in that movie. Two employees struggle to find the drama in a client's particularly banal life story, instilling in that client a sense of doubt, risking in him an emotional breakdown.

• Ralph Moffettone
• Laura Piccoli

• Aaron Amygdala
• (as Vasile Flutur)

• Cheryl Fovea
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• January 4, 2014 (United States)
• United States
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• Runtime 15 minutes

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Tour De Force (2013)

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Tour de force.

2010 Directed by Kim Sønderholm

Frank is a police officer who loses his family in a tragedy. In desperation he turns to crime and makes a living as a hitman for the mob.

Kim Sønderholm Claire Ross-Brown Toke Lars Bjarke Ole Ernst Alice Haaber Slavko Labović Peter Ottesen David Sakurai Jonas Schmidt Bob Anders Lars Bjarke Anja Owe David Schack Trappaud Dan Zahle Diana Bock

Director Director

Kim Sønderholm

Writer Writer

Editor editor, cinematography cinematography.

Krede Andersen

Primary Language

Spoken languages.

English Danish

Action Drama Thriller

Releases by Date

01 jan 2010, releases by country.

91 mins   More at IMDb TMDb Report this page

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Tour De Force

Audience reviews, cast & crew.

Laurent Tuel

Clovis Cornillac

François Nouel

Bouli Lanners

Rémi Pletinckx

Ary Abittan

Tony Agnello

Bruno Lochet

Pierre Bojean

Élodie Bouchez

Sylvie Nouel

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Review: Spike Lee’s ‘BlacKkKlansman’ Journeys Into White America’s Heart of Darkness

• Share full article

By A.O. Scott

• Aug. 9, 2018

In the middle of “BlacKkKlansman,” Spike Lee’s new joint — his best nondocumentary feature in more than a decade and one of his greatest — Ron Stallworth and his sergeant have an argument about the future of the Ku Klux Klan. It’s the early 1970s, and Ron (John David Washington), the first African-American officer hired by the Colorado Springs Police Department, has infiltrated the local Klan chapter and chatted on the phone with David Duke (Topher Grace), the organization’s national director.

That title sounds more respectable than the traditional grand wizard, and Sergeant Trapp (Ken Garito), who supervises the department’s undercover unit, insists that the smooth-talking, telegenic Duke has his sights set on the political mainstream. Duke and his allies are developing an electoral strategy based on potent, divisive issues like immigration, affirmative action and tax reform that could eventually lead to the White House. Ron laughs. The guys he is tracking are potentially dangerous, but also patently ridiculous. “America would never elect somebody like David Duke president,” he says. The sergeant asks, “Why don’t you wake up?”

His plea is something Mr. Lee’s fans have heard before — remember the last scene in “School Daze”? — though rarely from the mouth of a white character. It has less to do with the iffy, easy-to-satirize concept of “wokeness” than with the urgent need to see what is right in front of you. And beyond its stranger-than-fiction, somewhat embellished real-life story — the actual Ron Stallworth actually did infiltrate the Klan , and wrote a book about it — “BlacKkKlansman” is a furious, funny, blunt and brilliant confrontation with the truth. It’s an alarm clock ringing in the midst of a historical nightmare, and also a symphony, the rare piece of political popular art that works in all three dimensions. (The soaring, seething, luxuriant score is by Terence Blanchard, Mr. Lee’s frequent and indispensable collaborator.)

As the movie reminds us — right at the end, when it makes a harrowing transition from re-enactment of the past to raw, present-tense video — we currently have a president whom David Duke likes very much . Rather than add his voice to the chorus trying to explain how we got here, Mr. Lee (who shares screenwriting credit with Charlie Wachtel, David Rabinowitz and Kevin Willmott) muses that we might have been here all along. Which doesn’t mean that nothing has changed, but rather that the racist attitudes and ideas Ron finds among the Klansmen (and around the police department’s station house, too) are durable and tenacious facts of our national life.

[ Read more about Spike Lee and how he approached the creation of “BlacKkKlansman.” ]

As such, they have always been part of the legacy of American movies too. The first image in “BlacKkKlansman” is a famous, stirring shot from “Gone With the Wind,” of wounded Confederate soldiers around the Atlanta railroad station under a tattered battle flag. The climax involves a screening of “The Birth of a Nation,” the 1915 D.W. Griffith epic that simultaneously spurred the rise of the Second Ku Klux Klan and of cinema as an art form.

In a sly and stunning tour de force of film-geek dialectics, Mr. Lee uses one of Griffith’s signature innovations — parallel editing (also known as crosscutting) — to unravel the deep ugliness of Griffith’s hymn to the heroes of white supremacy. As the modern Colorado Klansmen hoot and holler and eat popcorn, reveling in the exploits of their predecessors, a group of black students and activists gather in another part of town to hear the testimony of an old man (Harry Belafonte) who witnessed the lynching of his best friend in Texas around the time “The Birth of a Nation” was playing in theaters. The juxtaposition is chilling and revelatory. The righteous rhetoric of racism is conveyed with the scale and glamour of motion-picture technology, while its grisly truth is communicated by means of still photographs and simple words.

That asymmetry is the film’s organizing principle and central insight. Ron’s first undercover assignment is to attend a speech given by Kwame Ture (Corey Hawkins), formerly known as Stokely Carmichael, who popularized the phrase “black power” in the late 1960s. Duke’s language sometimes echoes Ture’s — Klansmen and black militants both refer to the police as “pigs” — but to see “BlacKkKlansman” as the story of an embattled man in the middle contending with extremists “on both sides” would be to miss the point entirely.

It is true that Ron is caught in a tricky position. At the Kwame Ture event, he strikes up a flirtation with Patrice Dumas (Laura Harrier), the president of the Black Student Union at Colorado College. As their relationship progresses (without Patrice finding out what Ron does for a living), they argue tactics and philosophy. Is it better to work inside the system, to push against it from the outside or to smash it to pieces? This is an old, unresolvable debate, a tension that has partly defined Mr. Lee’s own career.

[ Sign up for Watching and get recommendations on the best TV shows and films to stream and watch. ]

His fearless embrace of contradiction gives “BlacKkKlansman” its velocity and heft. It is worth pausing to admire its sheer, dazzling craft, the deftness of its tonal shifts — from polemical to playful, from humorous to horrific, from blaxploitation to Classical Hollywood and back again — and the quality of its portraiture. Mr. Washington is witty and charismatic (yes, he’s Denzel’s son), and like Ron he takes the job seriously and enjoys the hell out of it. Detective work, like detective movies, can be a lot of fun. The layers of intrigue and suspense show Mr. Lee’s sometimes underappreciated genre skills. The low-key psychological insight demonstrates his (also underrated) way with actors.

While Ron reaches out to the Klan over the telephone — “whitening” his voice in the manner of countless stand-up comedians — he can’t very well show up at meetings. That job falls to Flip Zimmerman (Adam Driver), who starts hanging out with local stalwarts of “the organization.” These include a square-jawed bureaucratic type named Walter (Ryan Eggold), a clever devil named Felix (Jasper Paakkonen) and a drunken doofus named Ivanhoe (Paul Walter Hauser). With the help of another detective, Jimmy Creek (Michael Joseph Buscemi), Flip and Ron keep tabs on a terrorist conspiracy evolving amid all the posturing and slur-slinging.

Mr. Lee has often been a gleeful curator of racial invective , and he observes the Klansmen with a fascination that stops only a few degrees short of sympathy. They are monstrous and clownish, but more than just figures of fright or mockery. Understanding what makes them tick is as much Ron’s mission as bringing them down.

And though the dramatic crux of the film is Ron’s predicament, his is hardly the only racial identity crisis under scrutiny here. Throughout his career, Mr. Lee has frequently turned his attention to the souls of white folks, to the volatile mix of pride, resentment, defensiveness and denial that motivates characters in (most notably) “Do the Right Thing,” “Summer of Sam” and “25th Hour.” When Flip criticizes Ron for treating their undercover work as a crusade — “for me it’s a job,” he says — Ron brings up Flip’s Jewish background, and the virulent anti-Semitism that accompanies the Klan’s anti-black bigotry. Flip says he never thought much about being Jewish: “I was always just another white kid.”

Later, he wonders if that amounted to a kind of passing. “BlacKkKlansman” is about the boundaries of group identity, and how a person can or can’t cross them. On the phone with David Duke, Ron passes for white, but in Patrice’s eyes his presence on the police force is its own kind of trespass. Some of his fellow officers see it the same way, though from the opposite side. But white people, who have more of everything, also have more opportunities for disguise.

“Just another white kid” is an all-purpose alibi, and public discourse abounds in code words and dog-whistles that allow bigots to pass as concerned citizens without a racist bone in their bodies . And vice versa. Committed anti-racists can sit quietly or laugh politely when hateful things are said. Epithets uttered in irony can be repeated in earnest. The most shocking thing about Flip’s imposture is how easy it seems, how natural he looks and sounds. This unnerving authenticity is partly testament to Mr. Driver’s ability to tuck one performance inside another, but it also testifies to a stark and discomfiting truth. Maybe not everyone who is white is a racist, but racism is what makes us white. Don’t sleep on this movie.

BlacKkKlansman Rated R. R as in Racism! Running time: 2 hours 15 minutes.

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Tour de Force

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5 global ratings

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Watch Tour de Force

• 1 hr 32 min
• 4.3   (143)

Frank has lost everything. He has lost his son in a tragic accident, his wife has left him, and the police force that drove his wife away has declared him unfit to serve. In desperation he has become a hired thug for a ruthless crime boss. Unable to bring himself to kill the innocent, Frank risks not only the job that gives him a purpose, but puts his life in mortal danger. Danish with English Subtitles.

Tour de Force is a 1994 action movie with a runtime of 1 hour and 32 minutes. It has received mostly poor reviews from critics and viewers, who have given it an IMDb score of 4.3.

• Genres Action Drama Thriller
• Cast Kim Sønderholm Claire Ross-Brown Toke Lars Bjarke
• Director Kim Sonderholm
• Release Date 1994
• MPAA Rating NR
• Runtime 1 hr 32 min
• IMDB Rating 4.3   (143)

Netherlands Film Commission

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Tour de force.

Documentary, 2005, 80 min.

For their debut film, directors Antoine Prum and Boris Kremer stuck to the heels of Luxembourg strongman Georges Christen bending, towing and twisting his way through Russia. Proud holder of 23 Guinness Book World Records in feats of strength - such as bending nails, towing trains, planes, and ships with his teeth, or tearing up the yellow pages - this modern-day gladiator has been touring his unique PowerShow for more than twenty years. Muscles, sweat, and blood make his performing routine a unique mixture of genuine power and vintage-style entertainment, appreciated by audiences the world over. Looking back on an impressive track record, Christen felt the time had come for the ultimate challenge... Russia, the country of a strongman’s childhood idols, provides the backdrop to this unconventional film, a road movie that is at once melancholic and jubilatory. In a succession of tableaux vivants, TOUR DE FORCE draws an intimate picture of Russia today, caught between the burden of history and the repercussions of fast-paced Westernisation. A parade of truer-than-life characters and faces completes this modern-times ballad of the itinerant artist, where reality at times appears to outdo fiction.

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Paul Thiltges

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