A second French review for Jane Got A Gun has arrived and while the first was lukewarm at best, this is definitely more positive.

If one is not totally convinced by the narrative twists and a little easier, shape, it imposes the tone. That of a thoroughbred western, sometimes intimate, sometimes thundering, in any case, more than attractive.

The full review in English, courtesy of Google translate and Belerofonte, is after the jump.

Our opinion: It does not extend over the meanders of the chaotic Jane got a gun production. Cast, director, budget … Everything changed. The central figure, played by Natalie Portman, she has remained. The filmmaker Gavin O’Connor (solid Warrior), came with a project doomed to failure and despair of its producers.

After months of delay on delivery, the film reveals exclusively in France long before its appearance on American screens, not trimmed to accommodate this bad example of an American industry that has buried plans for less. We could in this case refer to a resurrection of both the result stands out for control of his words and the pugnacity of his film speech. The film is actually succeeded!

In dusty realm of an America under construction, delivered to dementia small kings of the trigger, which imposed fear by shedding the blood of innocents and the weak, Jane Got a Gun, Western post-feminist, with very frail (physically) Natalie Portman is wearing the pants, shaped gun to the woman. At the same wife. Title announced: Jane is and will remain the film … Her husband badly banged up, lying on the bed in their cabin, secluded on the edge of the desert, it will have to take up arms to do battle with an army of criminals who do want, in fact, that her skin, certainly helped by a former, lawless, played by imperial Joel Edgerton.

In this twilight world, which one day will lead to the birth of the largest economic power, is not the law, justice is done by himself and the woman that enjoys meager rights. First victim of this testosterone outburst, says sex is low in the center, in spite of herself, a story of suffering and sacrifice, perhaps hesitating between violence burnée film of Sam Peckinpah (sockets exploding in flood of corpses) and the romance of the great love stories that pass through the most unlikely events.

The intention is obviously here to restore the role of women at the time of the gold rush and highlight their plight in a world of darkness, away from the light of the great cities of the East that developed so. It uses the theme of the spectrum and depressive The Homesman Tommy Lee Jones, who accompanied us to the gates of a contagious madness, but it is embellished with a furious survival in a setting conducive to the suspense, that of the taking of assault of a house by armed bastards.

If one is not totally convinced by the narrative twists and a little easier, shape, it imposes the tone. That of a thoroughbred western, sometimes intimate, sometimes thundering, in any case, more than attractive.