The Crime Is Mine draws on the same giddily rules-trampling pre-war mood as Chicago.
A curiously unsentimental director of romantic comedies, Julie Delpy sees romance for the work that it primarily is.
The film is occasionally engaging in its free-wheeling determination to please its maker.
Danièle Thompson’s skillfully executed comedy of manners is either deeply profound or insupportably shallow.
Micmacs is not in the subtlety business.
Jean-Pierre Jeunet’s latest exalts mouse trap-style set pieces as a be-all-end-all.
After the vaporous whimsy of Avenue Montaigne and now the drippy antics of The Valet, Paris really could use more Gaspar Noé leather infernos.
Patrice Leconte is mainly drawn to sitcom scenarios, which might have been a reasonable tack to take if his material weren’t so cautious and staid.