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Critics Consensus: No consensus yet.
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Critic Consensus: No consensus yet.
All Critics (8) | Fresh (5) | Rotten (3)
L'emmerdeur (A Pain In The Ass) goes through the motions smoothly, even lazily, providing increasingly-intermittent smirks rather than genuine belly laughs.
The English title, I'm afraid, sums up the film.
Alas, not for a minute does the viewer care about any character, though admittedly it's mildly diverting and intermittently funny -- and occasionally blackly or incongruously so.
Without being in the same league as last year's brilliant In Bruges, the comedy here sometimes comes from a deliciously dark place.
I never saw the original, I can only dimly remember the Billy Wilder version but hey, it works well enough to deliver quite a few laughs.
The physical comedy works well, and while the farce is perhaps oversize for the screen these days, it is nevertheless an entertaining and genial trip.
Francis Veber's touch of the absurd is in fine form in his latest comedy of errors involving a crim, a hitman, a suicidal jilted husband, his adulterous wife, her shrink lover and the hotel butler.
Veber, who has never met an absurdity he couldn't befriend, moves his comedy of errors along at a breakneck pace starting off with a ceiling collapse.
Not a bad movie but it isn't particularly hilarious either. I think it tries too hard to be zany and wacky and it succeeds in certain scenes, but it felt, to me, a bit forced. The cast is decent but not particularly impressive. Really this movie didn't do a lot for me despite being average. It has its moments but definitely not enough to make the movie good. Infinitely better than The Darkest Hour however.
Super Reviewer
Hilarious! This underwhelming comedy of errors has one faint distinction: it's strangely pitched, somewhere between deadpan and slapstick absurdity. It's sort of like a Gallic Get Smart, but with the great gags replaced by treacly sentiment. To be fair, the annoying elements are largely intentional. Hitman comedies have become a veritable sub-genre, especially ones in which the assassin has a kernel of redemptive decency - it would be refreshing to see one in which he was irredeemably callous. That said, Richard Berry is the nearest thing to a memorable performance in this forgettable romp.
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