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Films recreating the past have always been dull. This may be due to the fact they only drudge up ancient events; people who have long since past away or places forever banished to the realms of folklore. The majority are overly long, uninspiring and uninformative.

Histories are paranoid as to whether these films are factually correct, others just want to see an exciting film. But can the number of good historical films be counted on one hand? Most definitely. Sadly neither Tout Va Bien, The Tragedy of Macbeth or Sodados de Salamina can be added to those select few.

Tout Va Bien is arguably one of the most rigidly boring films ever made. In fact it is almost unwatchable when it cries out with its unhealthy obsession with politics. The lacklustre characters, script and camera work render the film a complete waste of time. There's a strong aroma of 'why?' upon conclusion, both in terms of: 'Why have I just wasted two hours of my life watching this?' and more importantly: 'Why was this film even made in the first place?' These doubts, combined with the feeling of being left as deflated as a three-day-old balloon, add up to a terribly disappointing experience.

Made in 1972 and directed by Jean-Luc Godard the film attempts to dissect society, movies, love and revolution, which it fails to do. In fact the film seems to have no life, with all parties involved just going through the motions.

The opening scene has potential and sets high expectations for a quirky and clever movie to follow. The filmmakers discuss how to make a political film, while they sign cheques for all the production costs. However, by the time they reach the 25th cheque it's safe to say, it's not clever anymore. An equality excruciating moment occurs during the filming of an advert, where a static shot of two dancing girls' legs is sustained for a full five minutes creating a sense of disbelief.

Littered with imperfections and several mind numbingly dull sequences, the film's longest scene has the two stars (Yves Montard and Jane Fonda), trapped with the manager of a slaughterhouse (Vittorio Caprioli) as his workers bar him from leaving his office. The camera stays fixed on Fonda, although she is motionless and speechless. She is just perched on the windowsill looking down, while Montard's and Caprioli's voices can be heard from somewhere out of the shot. Again the word 'why' creeps in.

One scene of note is the grocery store sequence towards the end of the film, which uses an impressive tracking shot

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