L - A (translated with DeepL)
Director Houda Benyamina's adaptation of Alexandre Dumas's novel, in which the musketeers are women, totals just 9407 admissions in five days, and fails to break into the top 30 films of the last week.
“Toutes pour une is as necessary as inclusive writing”. That's how Éric Neuhoff, film critic at Le Figaro, described Houda Benyamina's latest film, in theaters since January 23. In this umpteenth adaptation of Alexandre Dumas' Three Musketeers, the director of Divines (2016) blows the stereotypical masculinity of d'Artagnan, Athos, Portos and Aramis to smithereens. In their place, we discover new heroines: Oulaya Amamra, Sabrina Ouazani, Déborah Lukumuena and Daphne Patakia.
The script is based on the 1961, 1973, 1989, 1993 and 2001 adaptations, and of course on the last two from 2023, starring François Civil, Vincent Cassel and Louis Garrel. “There are always three of them, charged with protecting the queen. They are joined by an escaped Morisco, whom they adopt and who becomes their D'Artagnan. That's the job,” sums up Éric Neuhoff. A single (and immense) detail makes all the difference: Anne of Austria's three protectors have to disguise themselves as men to accomplish their exploits. Chest bandages, false beards glued to the chin, fake moustaches, wigs... This debauchery of hairpieces and make-up will enable them to join the glorious company of King Louis the Thirteenth's musketeers.
Disastrous box-office debut
This (original?) idea doesn't seem to have had the desired effect on critics and, today, the general public. Éric Neuhoff, for one, doesn't seem to have enjoyed this very 21st-century retelling of Dumas père's work: “The film flounders, doesn't know which way to dance, hesitates between spaghetti western and vaguely feminist pamphlet, sequences assembled in a hurry and pieces that claim to be bravura, all sprinkled with Anglo-Saxon songs that arrive like hair on the soup.”
The general public could have contradicted the critics. But the initial, often cruel, attendance figures didn't save our feminized duelists either. In its first five days of release, Toutes pour une attracted just 9,407 admissions on 155 screens. Enough to deprive it of a place in the top 30 of the French box-office this week, even though its production required no less than 10 million euros of investment.
But that's not all. At the end of its first day of release in France, The Three Musketeers with Woke Sauce only managed 1271 admissions over 564 screenings, an unflattering average of two spectators per screening. By way of comparison, Jouer avec le feu starring Vincent Lindon, released on the same day, attracted 20,252 spectators in one day. That's twenty times more than its projected budget of 4.5 million euros.
Allociné withdraws film's audience ratings
And as if the attendance figures weren't enough to make Toutes pour une one of France's biggest flops of recent years, another misfortune has consigned to cinematic oblivion what is already shaping up to be a resounding failure. “Due to an abnormally high influx of extreme ratings (0.5 or 5) and new user accounts, we have taken the exceptional decision to temporarily suspend the display of the film's spectator rating”, announced Allociné on its site. An extremely rare occurrence. As rare as seeing a Vicomtesse de Bragelonne...
Allociné associates this “vote manipulation” with the opinions shared on social networks. X (formerly twitter) has indeed become a playground for the many Internet users who pour out their hatred in negative comments. Unsurprisingly, most of these detractors attack the film's supposed “wokism”. However, the abundance of 0/5 stars was offset by a number of laudatory comments giving the film top marks. At Le Figaro, our critic Éric Neuhoff gave the film a 0/4 point.
Director Houda Benyamina's adaptation of Alexandre Dumas's novel, in which the musketeers are women, totals just 9407 admissions in five days, and fails to break into the top 30 films of the last week.
“Toutes pour une is as necessary as inclusive writing”. That's how Éric Neuhoff, film critic at Le Figaro, described Houda Benyamina's latest film, in theaters since January 23. In this umpteenth adaptation of Alexandre Dumas' Three Musketeers, the director of Divines (2016) blows the stereotypical masculinity of d'Artagnan, Athos, Portos and Aramis to smithereens. In their place, we discover new heroines: Oulaya Amamra, Sabrina Ouazani, Déborah Lukumuena and Daphne Patakia.
The script is based on the 1961, 1973, 1989, 1993 and 2001 adaptations, and of course on the last two from 2023, starring François Civil, Vincent Cassel and Louis Garrel. “There are always three of them, charged with protecting the queen. They are joined by an escaped Morisco, whom they adopt and who becomes their D'Artagnan. That's the job,” sums up Éric Neuhoff. A single (and immense) detail makes all the difference: Anne of Austria's three protectors have to disguise themselves as men to accomplish their exploits. Chest bandages, false beards glued to the chin, fake moustaches, wigs... This debauchery of hairpieces and make-up will enable them to join the glorious company of King Louis the Thirteenth's musketeers.
Disastrous box-office debut
This (original?) idea doesn't seem to have had the desired effect on critics and, today, the general public. Éric Neuhoff, for one, doesn't seem to have enjoyed this very 21st-century retelling of Dumas père's work: “The film flounders, doesn't know which way to dance, hesitates between spaghetti western and vaguely feminist pamphlet, sequences assembled in a hurry and pieces that claim to be bravura, all sprinkled with Anglo-Saxon songs that arrive like hair on the soup.”
The general public could have contradicted the critics. But the initial, often cruel, attendance figures didn't save our feminized duelists either. In its first five days of release, Toutes pour une attracted just 9,407 admissions on 155 screens. Enough to deprive it of a place in the top 30 of the French box-office this week, even though its production required no less than 10 million euros of investment.
But that's not all. At the end of its first day of release in France, The Three Musketeers with Woke Sauce only managed 1271 admissions over 564 screenings, an unflattering average of two spectators per screening. By way of comparison, Jouer avec le feu starring Vincent Lindon, released on the same day, attracted 20,252 spectators in one day. That's twenty times more than its projected budget of 4.5 million euros.
Allociné withdraws film's audience ratings
And as if the attendance figures weren't enough to make Toutes pour une one of France's biggest flops of recent years, another misfortune has consigned to cinematic oblivion what is already shaping up to be a resounding failure. “Due to an abnormally high influx of extreme ratings (0.5 or 5) and new user accounts, we have taken the exceptional decision to temporarily suspend the display of the film's spectator rating”, announced Allociné on its site. An extremely rare occurrence. As rare as seeing a Vicomtesse de Bragelonne...
Allociné associates this “vote manipulation” with the opinions shared on social networks. X (formerly twitter) has indeed become a playground for the many Internet users who pour out their hatred in negative comments. Unsurprisingly, most of these detractors attack the film's supposed “wokism”. However, the abundance of 0/5 stars was offset by a number of laudatory comments giving the film top marks. At Le Figaro, our critic Éric Neuhoff gave the film a 0/4 point.
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