Like in his other works Jeunet has many crazy ideas full of fabulous visual and acoustic details, e.g. the whole world of the junkyard with its moving objects or Bazil's short mind exercises. One of my favorite scenes is Bazil's recognition of the weapon manufacturers which is not only underlined by an orchestral crescendo but also completed with an orchestra that suddenly shows up on the stairs of the building.
This works briliantly. It feels like the universe of films like Delicatessen and The City of Lost Children fighting the "real" world of war economy and Realpolitik. And winning. Jeunet is able to do something amazing. He creates fables for grown ups. We do need to believe, against all the cynism of the world. And it turns out, this is the best antydot for escapism. Dare to dream, looking at the world, like children.
Takes a while to get going and there are perhaps one or two too many characters here for us to get to know, but once the 'action' gets going it really is absolutely bags of fun. It's not Jeunet operating at anywhere near his best but it's still better than most things you'll see.
Brilliant affirmation of the power of the fool to subvert the fragile pomposity of outward power. A man with a bullet in his head and a bunch of eccentric friends can wreak more havoc than wealthy arms dealers and goons in posh suits. Tinkerers can do magical things with the bric a brac of urban refuse: never take odds and ends for granted.
Jeunet's latest offering isn't a honey-coloured 'Amelie', but it doesn't disappoint in terms of quirkiness. If a contortionist, a human cannonball, an ex-con and a human calculator floats your boat, then so will MicMacs. Yes, the underlying story is somewhat dark (a la Delicatessen) but the overall impression is one of the resourceful underdog winning out over our modern world of alienation and distancing.