Ralph Breaks the Internet
Mission: Impossible - Fallout
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All Critics (19)
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The director observes life from a distance and lets the viewer discover the humor within the frame instead of pointing it out to them. This approach gives Tati's films their gentle, unassuming quality.
Jour de Fête marks a spectacularly well fashioned introduction to Tati's old-fashioned and playful sense of humour.
Wistful coziness and meticulous experimentation already comprise the captivating aesthetic in Tati's feature debut
a genial, ambling comedy that uses the figure of a klutzy postman named François (played by Tati himself) as the centerpoint for a series of comedic episodes involving a small French village preparing for a big festival
Jour De Fête sees Tati building out the world around François, finding humor in the leisurely pace of country living.
Tati's feature debut is a brilliant, smart, timeless comedy, which immediately established his reputation as major director and auteur.
The originality of its design makes Tati's cinema unfold as it were a series of Looney Tunes episodes envisioned by Robert Altman.
Delightfully filled with physical slapstick and sight gags.
Tati's directorial debut is also one of his funniest. Like his other movies, it's best to keep your eyes wide open and look at tiny images in the corner of the screen. Tati isn't playing M. Hulot in this flick, but he'll still make alert viewers' sides ac
This was a different kind of comedy, I'm not sure how to describe it, really. Problem was, it's not very funny. It was sort of quirky in a very old fashioned kind of way. It felt a lot older than it was even.
Comedy legend Jacques Tati directs, co-writes and stars in this charming look at a guileless postman bicycling his rounds in a small French village. The film is near plotless, unless you count a late section where Tati's character Francois sees a newsreel about American postal efficiency and strains to accelerate his own work in reply. (This final act is wholly recycled from Tati's 1947 short "School for Postmen.")
The laughs depend on sight gags, lightly presented but carefully choreographed, and Francois doesn't speak much. When he does, he adopts a self-involved, thinking-out-loud mutter that barely calls for a response. Chickens, who cackle throughout the film with perverse consistency, arguably have more lines than any human. Francois's bike -- which frequently gets away from him -- accounts for a large chunk of the humor and the rest revolves around his interaction with the playful townsfolk, who alternately cheer on his diligence or try to throw him off course. (Learn to say no to alcohol, Francois!) The lack of story is somewhat wearying, but the film's brisk 79 minutes pass before this becomes a serious problem.
"Jour de Fete" was simultaneously shot in both color and black-and-white, and the latter version was the standard for years. However, a restored color edit was finally released in 1995. Given the subtlety of the film's visual humor, it's possible that some jokes are easier to pick up in color. So, don't worry about the ethics of "colorization."
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