2 Days in Paris

2007

2 Days in Paris

Critics Consensus

Delpy proves not only to be an adept actress, but makes her mark as a writer and director in this thought-provoking comedy that breaks the romantic comedy mold.

86%

TOMATOMETER

Total Count: 118

72%

Audience Score

User Ratings: 50,649
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Movie Info

Ingenue Julie Delpy does triple duty as writer, director, and star of this romantic comedy. French photographer Marion (Delpy) and American interior designer Jack (Adam Goldberg) are returning from a vacation in Venice. Despite the fact that it was supposed to be the ultimate romantic getaway, disagreements and misunderstandings seemed to drive them farther apart rather than bringing them closer together. Before they return to the United States, Marion and Jack have a quick two-day stop in Paris to visit Marion's parents and pick up the cat that they had been pet-setting for their daughter. Unfortunately for Jack, Paris proves to be quite a culture shock. Not only are Marion's parents a pair of eccentric former "revolutionaries" who make no qualms about having knock-down-drag-out arguments regardless of who's present, but they also appear to have a particular distaste for Americans. Add to this the fact that Marion's friends hold nothing back when it comes to discussing their sexual lives, seem fixated on food rituals, and that Marion seems to run into former lovers on every street corner, and Jack quickly begins to suspect that he doesn't know his girlfriend half as well as he thought he did when they were living the simple life back in New York. ~ Jason Buchanan, Rovi

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Cast

Albert Delpy
as Jeannot
Chick Ortega
as First Taxi Driver
Patrick Chupin
as Taxi Driver with Jack Russell
Antar Boudache
as Flirtatious Taxi Driver
Ludovic Berthillot
as Racist Taxi Driver
Hubert Toint
as Music Day Taxi Driver
Claude Harold
as Micha Sisinsky
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Critic Reviews for 2 Days in Paris

All Critics (118) | Top Critics (43)

Audience Reviews for 2 Days in Paris

  • Jul 18, 2013
    A tour de force reminiscent of Woody Allen's bittersweet love stories. Julie Delpy's triple threat debut is witty, funny, and poignant in its portrayal of a doomed romance. The blend of languages is seamless and depicts little-known aspects of American to French culture clash. I love the family's boisterous fight in the courtyard over Anna accidentally fattening up Marion's cat, then Jack peering down, asking if anything is wrong, and Marion saying bemusedly, "No. Why?" Marion's altercation with the racist cabbie is also ballsy and hilarious, with Delpy miming Hitler's mustache and the sign for asshole while braying, "Welcome to France," to Jack's prudish embarrassment. In response to Flixster friend, Ryan Hibbett's critique of the film, I don't think Delpy is saying she hates France. She examines France's despicable qualities through an American lens, and vice versa, seeing as how she's almost an expat herself. The film pokes fun lovingly at idiosyncracies of both cultures (Jeannot's porny art and penchant for keying luxury cars vs. Jack's misanthropic treatment of his own countrymen for selfish reasons). Also, Marion may have had a lot of ex-boyfriends, but she is not an immoral slut-bag. For one, she tearfully declines the affair with Mathieu, and for two, Delpy would reclaim that epithet in the name of feminism, this specific brand of which has roots in Simone de Beauvoir's "Manifesto of the 343 Sluts" (a no-shame pro-choice tract signed by 343 famous French feminists including Delpy's own mother, which Marie Pillet even mentions in the film). The aforementioned taxi altercation is so layered in this respect. It marks the boorishness of the French male but also the shamed pacifism of the "polite, intellectual" American male, Jack, who sits and does nothing to defend himself or his girlfriend while she expresses her ardent distaste for racism (an admirable quality) in an inebriated, vulgar, verbal castration (a less admirable quality for some, but a rousing show of feminism for her.) Similar to the physical fracas in the cafe later, her morals behoove her to hate an ex who fucked little girls; her insatiable appetite for verbal castrations obviously behoove her to lose her temper. This little woman has a mouth on her, and she's not afraid to use it. She can be mean and annoying, but she owns it. She's not afraid to portray herself as the crazy French bitch.
    Alice S Super Reviewer
  • Jul 16, 2013
    I don't know if I'm more excited about seeing Adam Goldberg in a leading role, or seeing that Adam Goldberg is actually still alive. I joke, but after Golberg spent years of being trapped in the TV guest star zone, with only small roles in films, it did seem like he was trying to tell us something the year before this film came out when he played a suicidal man on "My Name is Earl". Actually, if Goldberg was going to be up to anything in 2006, it would probably be celebrating the cancellation of "Joey" (Of course, he did join in the second season, and by that time, he should have known that it wasn't going to be the best career move for him, unless, of course, he, like plenty of people and, well, myself, didn't even watch the first season of "Joey"), so that's a good sign that he hadn't given up hope, which must have paid off, because one year later, he got a starring role in a film... that is not very good. Man, come to think of it, I don't even know if you can call him the lead in this film, because Julie Delpy is so involved in this film that she's the "co"-lead, director, co-producer, writer, score composer, editor... sound editor, casting director, makeup designer, costume designer, location manager, caterer... cinematographer and head camerawoman. I don't know how she would be able to operate a camera while acting in front of it, but hey, this film's camera is so indie film-tastically shaky that I can honestly say that I wouldn't be too surprised. Seriously though, Delpy isn't "that" involved in this film, but the fact of the matter is that this film is an "independent" film if there ever was one, as she's pretty committed to this project, which would be great and all if she didn't apparently give herself so much to do that she ended up to worn down as storyteller to make an actually good film. Yeah, I can't say that I'm all that impressed, or at least not on the whole, because it's hard to deny the strengths that almost save the final product. Julie Delpy's score is unevenly used in this generally quietly dry indie fluff piece, and when it is used, it, kind of like the film itself, doesn't do all that much that's especially refreshing, yet it's hard not to enjoy it, as Delpy delivers on a certain tastefulness that much like the locations. Whether it be because Delpy and the French audience this film is partly made for are used to Paris, or simply because Delpy's taste in framing is sometimes so amateurish that you get the midsection of someone's face more than the background that you should be immersed in, the showcase of this film's lovely setting stands to be more celebratory, but this is still a film about exploring the streets and culture within Paris, France, so when the locations are played up, they're lavish enough to draw your eyes towards a place that you have no doubt seen time and again, at least objectively, but is always a sight for sore eyes. The film is certainly not visually appealing enough to compensate for the limited emotional appeal, but it's a charming tribute to French culture, and the leads of this tour through Paris also prove to be charming, at least on the whole. Needless to say, charm and chemistry would be sharper if the characters were more interesting, or at least more fleshed out, so no amount of charisma within this talented cast can fully compensate for the shortcomings in this character study, but it's not like the performers don't still try, and with about as much success as they can achieve, boasting a certain charm that really flourishes when the charm within Delpy's script truly hits. I don't know it's because you get used to Delpy's writing style or whatever, but it seems like sharpness in writing dies down with the momentum of the film, and it's not like Delpy's script is ever all that engaging, but it has its witty moments in humor, anchored by sharp dialogue and relative highlights in characterization that give you a glimpse at what this film could have been. Sure, the film was never going to be all that much, but it still squanders potential, something that is seen enough through all of the tasteful and charming areas that are admittedly recurring enough to come close to carrying this film out of mediocrity and into genuine decency. Sadly, in the long run, the strengths in this film don't quite make it in their noble efforts to make a decent indie rom-com, coming close, but having that sweet cigar snatched from their lips by little in the way of intrigue, and just as little in the way of uniqueness within what plot there is. Clearly this film is doing something different, because somewhere along the way it ended up being not quite as likable as certain other indie comedies of this nature, yet blandness wouldn't be as firmly secured as it ultimately is if this film wasn't so formulaic, to where what story there is to this aimless mess feels predictable, thanks to such tropes as a tendency to make blandness in "story"telling all the more severe through a distinctly independent comedy type of meandering. I suppose I like plenty of this film's aimless spells, as they are often powered by snappy spots in writing, but when the wit in Julie Delpy's script wears off, all you're left with a excess filler that has always been there, just toned down by a bit of wit that can still never fully obscure the awkwardness within this film's keeping narrative momentum flowing, only to suddenly fall slave to filler that is so abundant that it ends up driving the film at times, to the point of igniting both repetition and a certain focal unevenness that challenge your investment and bland things up, if not dull things down. On top of turning in a bloated and aimless script, Delpy, as director, does only so much to compensate for dry writing with atmospheric liveliness, so when writing really blands up, things get pretty dull, and that's something that this film cannot afford to have, as your investment is shaken enough by issues in characterization that start with a certain something involving the opposite of the padding that plagues this film more than any other type of pacing problem. Immediate development is mighty minimal, and gradual exposition feels kind of thin, because if there's an area for substance to be fleshed out, this film will, more often than not, rush right back to the filler, though it's not like any amount of flesh-out can fully make up for the problems within the characters themselves, as they are mere average people with nothing particularly special going on in their lives, thus making them uninteresting as the central focus of this character study, which would be fine and all if the characters simply stopped at uninteresting, rather than be defined as obnoxious, rather pretentious, often rudely inconsiderate, over-the-top and all around unlikable, sometimes profoundly so, with problems that "plotting" ostensibly intends to remedy by the end, but ends up fleshing out too much for you to want to attach yourself to these jerks, whose inconsistency in behavior - spawned through anything from forced reminders of unlikable traits to jarring moments in the futile attempts to turn our leads into better people - further dilutes their compellingness (Of course, I do love the adorable chunky kitty in this film; cats are awesome). The charismatic performers behind this film try their hearts out to bring likability to their problematically drawn characters, and kind of succeed when Delpy's writing picks up, but on the whole, when the characters aren't uninteresting, they're unlikable, and that's bad, because the engagement value of characters can make or break a film of this type, and considering how disengaging the driving forces of this character piece are, it's all but impossible to ignore that natural shortcomings of this do-nothing film. On top of being carried by unengaging characters, this film's non-plot is uninteresting, being unfocused and aimless, with a paper-thin sense of conflict to its meandering and intimate meditations upon nobodies doing nothing, thus making for a distinctly indie comedy type of uncompellingness that goes made all that more intense by unlikable characters and atmospheric bland spells, and would have stood a chance of being compensated for with charm if Julie Delpy, as director, didn't plague the final product with a kind of annoyingly self-congratulatory tone. I wasn't exactly entering this film expecting a rewarding rom-com that particularly compelled, but I was kind of looking forward to seeing yet another very charming and enjoyable, perhaps relatively high-profile mumblecore-esque addition to the colorful independent film industry, and sure, Delpy promises just that early on, but as things progressed, I grew more and more aware of the lack of intrigue to this plotless tale, as well as of the lack of likability of the characters who drive it, especially with Delpy's overambition, maybe even pretense bearing down on me, begging me to attach myself to this film that just doesn't do anything unique or interesting, having just enough charm to come close to decency, but not enough to escape mediocrity. When the vacation is all over and finally done with, you're left with only decent score work, lovely locations, some charismatic performances and witty highlights in writing to take home with you, and that's enough for the film to almost achieve genuine decency, but not enough for you to look past the formulaic structuring, unevenness in a focus that all too often falls slave to aimless filler, underdeveloped and unlikable characters, and uninteresting story that make "2 Days in Paris" a borderline likable, but ultimately pointlessly mediocre affair with little that's interesting, and even less that's memorable. 2.25/5 - Mediocre
    Cameron J Super Reviewer
  • Dec 31, 2012
    Most actors are afraid of repeating themselves in the fear of becoming a stereotype they might be unable to shake off. Deply however seems unphased, having appeared in a number of these small budget films about a snapshot in the lives of a couple, showing us the romance, the humour and the troubles in equal measures. 2 days in Paris is one of her first attempts in directing and manages to emulate the essence of the Before Sunrise/Sunset films that are so dear to my heart.
    Nicolas K Super Reviewer
  • Nov 19, 2012
    This is a very intelligent and mature romantic comedy. One that could've, potentially, been pretentious but thankfully there's no pretense here at all, and if there is there is very little of it. The film is a mature look at an adult relationship. None of that Hollywood bullshit here. And I think the film is better for it quite frankly, it's rare to find such intelligent and mature romantic comedies out there and this one fits that mold, while still breaking away from it if that makes sense. The film is carried by Julie Delpy and Adam Goldberg and their excellent chemistry with each other. They really are tremendous because you, right from the very beginning, can tell that they're really not right for each other yet there's something attracting them to each other which you also can't deny. I think doing this is actually harder than it sounds. Of course the events surrounding these characters help add a lot of context since pretty much everything that happens helps drive them apart to the point where they realize that they don't know anything about each other and the film climaxes with them airing out their problems and letting their insecurities out. So while the movie does really entertain, it is a pretty damn funny movie too actually. The comedy is drawn from the dialogue not the situations, so if you're used to that then you won't enjoy this film. Granted the situations do lead to a lot of funny lines so it's the best of both worlds really. The movie does start to drag a bit nearing the end, but overall it's nothing all that annoying. Most movies suffer through this. Other than that, if you're used to Hollywood romcoms then this movie isn't going to be to your liking, but if you're looking for an intelligent and well-thought out screen romance, then this is a good choice as it's good great chemistry between its leads and some really good comedy, so I'd wholeheartedly recommend this film.
    Jesse O Super Reviewer

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