Mouret is the cinematic offspring of Woody Allen and Eric Rohmer. From the former he takes the actor-director presenting himself as neurotic but satisfying lover; from the latter he absorbs the pleasure of extended talk. Mouret's talk is enjoyable, but i
Shall We Kiss? (2008)
Tomatometer
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Reviews Counted:21
Fresh:17
Rotten:4
Average Rating:6.7/10
Consensus: Shall We Kiss? combines just enough romance and laughs to make for a charming French take on Woody Allen comedies.
Theatrical Release:Mar 27, 2009 Limited
Box Office: $373,940
Synopsis: Wry, observant and touching, Shall we Kiss? is a very contemporary meditation on the myriad implications of a simple kiss. When Gabriel and Emilie meet by chance, he offers her a ride, and they... Wry, observant and touching, Shall we Kiss? is a very contemporary meditation on the myriad implications of a simple kiss. When Gabriel and Emilie meet by chance, he offers her a ride, and they spend the evening talking, laughing and getting along famously. At the end of the night, Emilie declines Gabriel's offer of "a kiss without consequences." Emilie admonishes him that the kiss could have unexpected consequences, and tells him a story, unfolding in flashbacks, about the impossibility of indulging your desires without affecting someone else's life.--© Music Box Films [More]
Starring: Virginie Ledoyen, Emmanuel Mouret, Julie Gayet, Michael Cohen
Starring: Virginie Ledoyen, Emmanuel Mouret, Julie Gayet, Michael Cohen, Stefano Accorsi, Frederique Bel, Melanie Maudran, Marie Madiner, Lucciana de Vogue, Jacques Lafoly
Director: Emmanuel Mouret
Director: Emmanuel Mouret
Screenwriter: Emmanuel Mouret
Producer: Frederic Niedermayer
Studio: Music Box Films
Reviews for Shall We Kiss?
Impossibly charming and impossibly French, Shall We Kiss? is a comic romance full of rueful musings about fidelity and true love.
An engaging romantic comedy that's deeper, smarter and more pessimistic than it appears at first glance, a film with shrewd insight into the mysteries of human attraction.
Perhaps the film's biggest weakness is that all the characters are so naive and petty you can't really work up much fervour about who sleeps with whom.
Equal parts ridiculous and romantic, Shall We Kiss is an airy French puff pastry of a film, delicate and sweet, if lacking in any heavy nutritional content.
While it's hardly novel to see the lives of lovers thrown into disarray by a series of misunderstandings, missed signals and well-intentioned lies, Shall We Kiss? carries it all off with a rare degree of sophistication and wit.
The film’s very slight (pick your comparison: bonbon, souffle, sorbet) but it has a way of lingering a while after you see it.
Faultlessly tasteful but a little stale. Emmanuel Mouret wrote, directed and stars in this whimsical story of temptation and consequences.
It is as if the director had studied the comedies of Eric Rohmer and Woody Allen from top to bottom and come away with all the wrong lessons.
Gayet and Cohen generate enough heat in their section to upstage the leads.
Is Shall We Kiss? without merit? Not entirely. It has a grace, a languid charm, a pictorial elegance. The plot, when it winds up and unwinds, is ingenious. But are we expected in any sense to find these people realistic?
[An] enticing, weightless divertissement, a distant Gallic cousin to Woody Allen's talky comedies of romantic fumbling.
The result is that Shall We Kiss? puts its viewers in a bind worthy of the lovers themselves: should we organize a Socratic symposium on the issues raised by the film, or hurl our popcorn violently at the screen?
Shall We Kiss? features crisp dialogue and understated humor, played out by an attractive young cast. Audiences bred on Hollywood romances might find the film too chatty and contemplative. To them I say: Get over it, kids!
Shall We Kiss? is a slight movie, but it's also a quietly enjoyable one.
The matchmaking games in Emmanuel Mouret’s romantic comedy Shall We Kiss? may backfire, but nobody is seriously hurt.
Shall We Kiss? gives us storytelling as art. Emmanuel Mouret's romantic drama is expert, intricate, ineffably droll, ultimately provocative and entirely enchanting.
The French cinema continues to be the source of our most timelessly enchanting romantic entertainment.
Bogs down in the philosophical shallow end and never quite recovers from what's clearly meant to be a deceptively light tone.
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