Console best movie i've ever seen.

Glucedee It's hard to see any effort in the film. There's no comedy to speak of, no real drama and, worst of all.

Fatma Suarez The movie's neither hopeful in contrived ways, nor hopeless in different contrived ways. Somehow it manages to be wonderful

Scarlet The film never slows down or bores, plunging from one harrowing sequence to the next.

paul2001sw-1 Jean-Pierre Jeunet's 'Micmacs' has definite echoes of his first film 'Delicatessan', a wonderful aesthetic (a strange mixture of world war two and contemporary), a story with an edge of darkness, but also with a quirky heart. It's more whimsical than that earlier movie, but fun in the manner of the best cartoons - indeed, it's rare to see a live action movie more imbued with a cartoon-y aesthetic, and the its visual imagination bursts from every scene.. Perhaps there isn't quite enough at stake you make you care desperately about the plot: it's a tale of bad people (and their downfall), whereas 'Delicatessan' was a (much scarier) story of a whole world gone bad. But it's a fun, sweet film with a definite sense of its own style: there's not too much not to like here.

Eternality The highly-acclaimed director of Amelie (2001) brings fans back to his whimsical world of comedy with Micmacs, a fun, entertaining, and cheeky outing that does not have a single dull moment. Jean-Pierre Jeunet, the French director of some of European cinema's most stylishly creative films, takes rein over a film which has a story that goes like this: A guy named Bazil (Dany Boon) unluckily gets shot in the head but recovers to be adopted by an oddball family of "circus freaks". Together, they seek to help Bazil to find, capture, and embarrass the people who were responsible for manufacturing that bullet that is still stuck in his brain.Micmacs is a light-hearted take on crime – the crime of producing and selling weapons to maim or kill humans in wars. So with Bazil spearheading his team, they seek to destroy the egotistical heads of two companies that run such an evil, money-churning business. And they do so in the most bizarre fashion anyone could think of – by playing to the physical, intellectual, and courageous strengths of each person. There is a contortionist, a human cannonball, a human calculator, a black who speaks via the art of abstraction, an old man who improvises and creates things out of scrap metal, and a couple of others.Though the entire film could have been dreamt of by a director like Terry Gilliam (Brazil, 1985; The Imaginarium of Doctor Parnassus, 2009), Jeunet makes Micmacs his own with his incredible color schemes. His trademark use of soft orange and yellow give the film a sort of lively glow that makes it look eye-pleasing. Together with the fluidity of the camera-work, it is difficult not to become engrossed in the film's setting and characters. Apart from a couple of sex scenes integral to the plot, Micmacs could have been a children's movie, though that would be an insult to what Jeunet has accomplished here, despite how silly the film seems to be.Micmacs is playfully-directed, and the manner in which Jeunet tricks us with some oh-I-didn't-see-that-coming moments would most likely please us and tickle our funny bones. Most of the comedy come from physical situations that the characters find themselves in. Special credit should be given to Boon whose expressive bodily and facial movements channel the spirit of Charles Chaplin and Buster Keaton. Micmacs is visually stunning, with Jeunet flexing his creative muscles by superimposing moving images of what Bazil is thinking about on his forehead as he copes with anxiety issues. There is no doubt that with this quirky effort, Jeunet has once again proved that he is one of the few masters of inventive cinema.GRADE: A- (8.5/10 or 4 stars)www.filmnomenon.blogspot.comAll rights reserved.

ajs-10 This is a quirky French comedy (with subtitles) that, when it came out, attracted a few good reviews. On the strength of these I decided to watch it when it came up on TV recently. I have to say I wasn't totally blown away by it, but there are some nice touches and there are parts I actually found genuinely funny! But more of my thoughts later, here's a brief summary first (summary haters and those that don't wish to know anything about the plot please help the gang sort that junk while I write the next paragraph).When Bazil was young, his father was killed whilst clearing mines in North Africa. Amongst his effects returned to the family was a photo of the mine that killed him, and Bazil never forgot the logo embossed into the mine casing. Now grown up, he has a job at a video store. One evening a shoot-out occurs in the street outside and Bazil is accidentally hit in the head by a stray bullet. The surgeon decides it's too risky to remove the bullet and so Bazil leaves hospital only to find he is evicted from his apartment and his job has been given to someone else. He is given one of the bullet casings from the shootout, it has a different logo to the mine that killed his father but, again, Bazil commits it to memory. He now lives on the streets of Paris making a living busking. He is eventually taken in by a group of misfits who live in a junk yard. They make a living by recycling and selling things other people have thrown out. Lead by Tambouille, they include a contortionist, La Môme Caoutchouc, who Bazil has a bit of a thing for. Going about his job of collecting useful things to mend, Bazil comes across two buildings opposite each other. They bear the logos of the two companies that made the weapons that ruined his life. He decides to get revenge on the leaders of these two companies, Nicolas Thibault de Fenouillet and François Marconi. He ropes in his new found friends and this is where all the fun begins… I'll leave it there so as not to enrage the Spoiler Police any more than necessary.This is a very well made film with some really clever and inventive set pieces. It is visually very quirky, but in a nice way, and has a pretty decent soundtrack. Decent performances all round, particularly from; Dany Boon as Bazil, André Dussollier as Nicolas Thibault de Fenouillet, Nicolas Marié as François Marconi, Jean-Pierre Marielle as Placard, Yolande Moreau as Tambouille and Julie Ferrier as La Môme Caoutchouc.At the beginning I loved the quirky comedy, almost reminiscent of the great Jacques Tati (but not quite). Unfortunately it couldn't sustain its early promise and ended up falling pretty flat in the middle third. It seemed to pick up a bit towards the end, but by then, I'm afraid, it had lost a lot of its magic (for me). I somehow expected better from the director of the likes of Delicatessen (1991) and Amelie (2001), but sadly it didn't match up to its early promise. It's still quite an enjoyable film with some moments I found really funny and so I'll recommend it for one viewing, at least.My score: 6.2/10

RResende Whatever Jeunet and his team does, i'll want to see. The guy has a unique set of talents that few or no other filmmaker living has. He possesses a unique imagination, which invests and builds each of the cinematic worlds he proposes. Those worlds are quirky, always bizarre, like a Victorian freak show, but where you identify with the freak. This is invested into the characters, and their actions. Here it is also applied to the physical world. The refuge of out team of odd super heroes is a set you can clearly understand Jeunet spent a lot of time on. You approach it from the exterior as a mere texture of garbage and undefined objects. Inside it's much bigger than what it looks from the outside, and it seduces. The tricks, the retro gadgets of the inventor. All great. A great sense of space. Spatiality. People in the space. Action where you entangle the camera, the space, and the actor in the middle of them. Jeunet is great at this.The theme doesn't matter. It's an ordinary story about some cartoon bad guys been taught a lesson by the pure hearted handicapped guys. There's an implicit simple moral lesson (guns are bad, peace is great). We've seen it, with more or less variations, on hundreds of other films. That's a pity. Not because now we have another film like that. I mean, this one is better than most, more cinematic, better executed, with some really great things to it. But this is Jeunet, the fact that he took vacations and gave us this, means that we lost a new grand achievement like we know he can give us. Or maybe he does the Soderbergh thing, and uses the commercial success of this one to raise money for a good one. But i think even his good films always raised enough money to justify the next one. So this film serves no purpose. It's still great as a time filler. I wish every Sunday afternoon film was like this. But there's nothing more to it. And it could have.My opinion: 4/5http://www.7eyes.wordpress.com