I've heard the arguments against Amelie: that it's aggressively whimsical (do we hold that against Lubitsch?), that it has a lilywhite image of France (do we hold that against Tati?), and more. And while it doesn't match the masters listed above, every time I see Amelie it carries me away. So don't hate it for being "foreign cinema-lite". Just tell its lovers about Stolen Kisses, Mon Oncle, and Story of a Cheat.
A gush to cause conjecture, but to quote Icona Pop, "I don't care, I love it". Renoir, Godard, Truffaut, Vigo, Bunuel, Kieslowski, Clouzot, Tati, Resnais, Kassovitz, Audiard, - all of whom get criminally ignored, but Amelie's success doesn't negate its beauty. Jeunet created a love letter to marginal lives and Paris that stands true, dealing with the delicate meaning of the little things with aplomb. I stand by it.
Still one of my favorite Jean-Pierre Jeunet movies. Jeunet sets a high value on the sensual qualities of picture and (often everyday) sound and has an intriguing way to stage them like putting them under a magnifying glass (e.g. the sound montage accompanying the faked letter). I also estimate Jeunet's sense for bizarre and comical details as well as the superb camera work of the movie.
Exactly the kind of cutesy crap that brings out the mass-shooting-rampage-killer in me. Smug, twee gunk for smug, no-nothing airheads who've seen about ten other non-'Murcan films and think they're suddenly the big experts. You dilettante hippie muthas! You lack panache!! Stop whining! Edna picks her nose in your general direction. Fuck this flick and IN THE MOOD FOR LOVE too while I'm at it. Hugs and kisses, Edna S.
Twee, cutesy horseshit loved by lonely white people. I mean its sweet, slickly made and comes from a sincere place at least but ugh. It could be worse though, it could be made by Americans and starring Zooey Deschanel