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Movie InfoAbsurdist duo Benoit Delepine and Gustave Kervern follow-up 2004's Aaltra with this sparse black comedy in which the recently-fired female employees at a children's clothing factory pool their funds to put a hit on their callous boss. Out of work and down on her luck, ex-con Louise (Yolande Moreau) proposes to her jobless sisters that they do something useful by ridding the world of the man who put them all in their current situation. But while security specialist Michel (Bouli Lanners) seems like the perfect candidate to carry out the hit, his ineptitude is so great that he attempts to sub-contract the job to a series of inexperienced - and highly inappropriate - assassins. Notorious Belgian actor Benoît Poelvoorde cameos as a nut-job 9/11 conspiracy theorist, and actor/director Mathieu Kassovitz turns up as an organic hotelier. … More
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Critic Reviews for Louise-Michel
Offers a rousing reminder of the power (and eccentricities) of the pissed-off proletariat.
Who knew empowerment could be so winning and so simultaneously grotesque?
Even by English-language black comedy standards, it's a decidedly odd mixture of fun and revenge.
Definitely more enjoyable when you break it down into bits and pieces in your head afterwards.
Although directors Gustave Kervern and Benoît Delépine strive a little too hard at times for outrage, it's still wickedly funny, and Moreau and Lanners are terrific as the grotesque anti-heroes.
A darkly funny film in the same vein as Micmacs, in this French crime caper political correctness gets le boot.
The laughs are defiantly non-PC, but there's no doubting the sympathetic handling of the working-class heroes, nor the righteous rage at the injustices of contemporary capitalism.
This is the best comedy I've seen since Burn After Reading or Death At A Funeral. It's terrific.
These two losers are so uncharming, so witless, so unfunny that I really found this film about them an arduous experience.
Often crass and never politically correct, Louise-Michel ultimately fails to reach its potential.
As stylists, Kervern and Delepine specialise in turning industrial landscapes into cartoon playgrounds, through sight gags that rely on offscreen space -- leaving crucial events to the imagination.
Complete with an absurdist black humour and a bizarre collection of farcical set pieces, Louise-Michel is a hit and miss affair.
I love good black comedy, but I really didn't get this one. Perhaps it whizzed over my head like some of those bullets.
In its funniest moments, the film displays the delicate timing of the best silent comedies.
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