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No consensus yet.
All Critics (22) | Top Critics (8) | Fresh (18) | Rotten (4)
Assayas's sense of how relationships evolve between people over time is conveyed with a rich and vivid novelistic density. Mar 3, 2008 | Full Review…
Assayas's sense of how relationships evolve between people over time is conveyed with a rich and vivid novelistic density.
Jonathan Rosenbaum
A kaleidoscopic but engrossing study of the shifting sands of friendship among a group of Parisians. Mar 3, 2008 | Full Review…
A kaleidoscopic but engrossing study of the shifting sands of friendship among a group of Parisians.
Derek Elley
It's a bit like a Woody Allen film without the kvetching or the wisecracks, but younger and more vital. Jun 24, 2006 | Full Review…
It's a bit like a Woody Allen film without the kvetching or the wisecracks, but younger and more vital.
The film doesn't leave the audience with a moral. It just leaves a sense of having been in the stimulating company of passionate people. Jan 1, 2000 | Rating: 3/4 | Full Review…
The film doesn't leave the audience with a moral. It just leaves a sense of having been in the stimulating company of passionate people.
Mick LaSalle
The cast, including Virginie Ledoyen, François Cluzet, and Mathieu Amalric, is as well coordinated as a fine chamber-music ensemble; their entrances and vanishings and re-entries play like recurring motifs. Jan 1, 2000
The cast, including Virginie Ledoyen, François Cluzet, and Mathieu Amalric, is as well coordinated as a fine chamber-music ensemble; their entrances and vanishings and re-entries play like recurring motifs.
Peter Rainer
It is, in many ways, a modest film. But a director who offers glimpses of life that are recognizable in both detail and texture isn't so common that we can afford to overlook what he has achieved here. Jan 1, 2000 | Full Review…
It is, in many ways, a modest film. But a director who offers glimpses of life that are recognizable in both detail and texture isn't so common that we can afford to overlook what he has achieved here.
Charles Taylor
The individual plot lines fit together seamlessly and the cast is easy on the eye, but this melancholy trawl through the quagmire of modern relationships is not outstanding. Mar 3, 2008 | Full Review…
The individual plot lines fit together seamlessly and the cast is easy on the eye, but this melancholy trawl through the quagmire of modern relationships is not outstanding.
Film4 Staff
A disappointingly sterotypical French film. Mar 3, 2008 | Rating: 2/5 | Full Review…
A disappointingly sterotypical French film.
David Parkinson
Assayas avoids easy resolutions, and Ali Farka Toure's score reminds us that each year brings with it a possibility that one will change the cycle. Mar 3, 2008 | Rating: 3.5/4 | Full Review…
Assayas avoids easy resolutions, and Ali Farka Toure's score reminds us that each year brings with it a possibility that one will change the cycle.
Sandra Contreras
The characters are all properly engaging and interesting, but the story feels the same as many others I've seen. May 20, 2006 | Rating: 3/4 | Full Review…
The characters are all properly engaging and interesting, but the story feels the same as many others I've seen.
Jeffrey M. Anderson
clever and thoughtful Sep 19, 2004 | Rating: 3/5
clever and thoughtful
Rich Cline
Assayas puts a shiny gloss on those who choose to live loose lives... Sep 8, 2002 | Rating: B+ | Full Review…
Assayas puts a shiny gloss on those who choose to live loose lives...
Dennis Schwartz
I see the word "sublime" used in reference to this movie. Sublime is not the word I'd choose here. If anything, I'd place this in the anti-sublime camp. If there is any kind of transcendence in this film -- outside of death, it comes at the very end, where Vera, the 16-year-old ex-lover of the 41-year-old Adrien appears to finally find true happiness with a boyfriend in her own age range.
To qualify as sublime, I think a work needs to be rising above the mundane, the quotidian, the commonplace. I associate it with some kind of happiness, with joy, with a space positively positioned above the fray of the everyday. Rogers and Astaire dancing above all, every time they dance, is a sublime activity, for instance, elevating them almost into the realm of surreal bliss, both for them and for the audience. Ironically, the only real joy that can be found in this story is the joy of Vera dating a boy her own age -- what might be considered commonplace in any "normal" context.
This story reminds me of a pinball machine, with characters, none of them very thrilled with their lives, bouncing off of each other in a kind of random existential dance. In pinball, the downer is game over, the end of the game. Here, again almost ironically, the end of game is signaled by a pure expression of love at the close.
Super Reviewer
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