Avid movie-watcher and video store clerk Bazil has had his life all but ruined by weapons of war. His father was killed by a landmine in Morocco and one fateful night a stray bullet from a nearby shootout embeds itself in his skull, leaving him on the verge of instantaneous death. Losing his job and his home, Bazil wanders the streets until he meets Slammer, a pardoned convict who introduces him to a band of eccentric junkyard dealers including Calculator, a math expert and statistician, Buster, a record-holder in human cannonball feats, Tiny Pete, an artistic craftsman of automatons, and Elastic Girl, a sassy contortionist. When chance reveals to Bazil the two weapons manufacturers responsible for building the instruments of his destruction, he constructs a complex scheme for revenge that his newfound family is all too happy to help set in motion. —IMDb
Several years before he helmed the fourth Alien film, Jean-Pierre Jeunet, together with fellow French cinema wunderkind/creative partner Marc Caro, made his mark on international cinema with two of the most distinctive films of the 1990s. Collaborating throughout the 1980s on ads, music videos, and such shorts as Le Manège (1980), Jeunet and Caro honed their signature visual flair and darkly comic sensibility; Jeunet’s solo effort Foutaises (1989) won a César for Best Short Film. Bringing their unique style to feature films in the 1990s, Jeunet and Caro’s debut work Delicatessen (1991) became an international art film sensation. Hailed for its grotesquely comic and oddly touching tale of post-nuclear survival amid a group of eccentrics in an ominous, almost palpably clammy yet cartoon-like “retro future” setting, Delicatessen attracted an ardent following and earned several festival prizes and two Césars. Flush from Delicatessen’s success, Jeunet and Caro finally made a feature they… read more
Creativo, geniale, fantastico e surreale. Speciale il microcosmo fatto di clochard bizzarri ma ben amalgamati tra loro, gustose le gag immaginate nella fervida mente del cineasta e prontamente innescate su schermo con scorrevolezza e ritmo. Ironico e di spessore, Micmacs saprà divertirvi con una favola e quella capacità di saperla raccontare tipica di Jeunet, che si conferma uno dei massimi pregi del cinema francese.
Visually well made as usual when it comes to Jeunet. The story is a bit light and cartoonish even for this director and the social critique does not really sit well. Still its a great waste of time that'll warm your heart and put a smile on your face. And that's sometimes all you need from a movie...
I love this movie to death and it's one of the few i can only think to characterize as charming. Very goddamn charming. there isn't a character I get tired of from beginning to end and the plot is just fun. I mean like higher quality fun. Not like "fun" when someone is talking about a movie that was just ok so they say fun. Genuinely fun.
"I hesitate to proclaim Mia Hansen-Løve's Le père de mes enfants (The Father of My Children) the best film of the year so far, or Hansen
"My favorite living French actor, André Dussollier, appears prominently in two high-profile films at this year's San Francisco International
C’est sans aucun doute le moins (ou le plus mauvais, c’est selon) Jean-Pierre Jeunet qu’il m’ait été donné de voir. Et je les ai vu tous. Micmacs à tire-larigot est du Jeunet tout craché. On y retrouve… read review
I really enjoyed this film due to not only it’s surrealist nature but also it’s quirkiness. The film plays almost like a throwback to silent film comedies mixed with Old screwball Comedies of the past… read review