Story coherency isn't The City of Lost Children's strong point, actually it opens plot holes so big you need a step ladder to climb out only to fall into bigger ones. The style is great, I get the feeling Bioshock and Thief 2 may have taken a few notes for level design. Acting is fine also but that kid who eats everything which seems to be the main reason the plot drives forward is a completely ungrateful little shit
As an adolescent, this was a strange & nightmarish fantasia that thrilled on a level of imagery & imagination. A few years on & it now seems empty & inappropriate. Putting young children in situations of clear distress to serve a flimsy narrative is irresponsible. Likewise, the central relationship unquestioningly flirts with suggestions of paedophilia. The whole thing feels insensitive; reducing people to objects.
One of my favorite fantasy movies and one of the most magical. The movie stole my heart when I saw it the first time and I still find it captivating with great ideas, beautiful images and absurd characters. Marianne Faithful's song at the end is the final drop that makes this one of my favorite French movies in the genre. It also is not afraid of blending darkness with strange humor.
3.5 stars. I was rather seduced by it as a teenager, but it's rather soured in my mind with memory... as another reviewer notes, there *is* something unsavoury about it. I feel like my sensibilities would general lead me to favour the grotesquerie of 'Lost Children' over the sentimentality of 'Amélie', but I know which one I'd rather re-watch. Maybe if I didn't have OCD I'd relate to Amélie less & enjoy this more...
Expensive looking demo reel of '90s CGI, hell-bent to out-pomp Terry Gilliam. The narrative tries to thematize its own lack of soul through an assortment of dark comicbook tropes, with no payoff. Unsavoury hints of paedophilia and signs of child mistreatment during production make it a real stinker.
A surrealistic action adventure film featuring mind-controlling fleas, deformed women and a steampunk aesthetic. Judith Vittet is adorable as Miette, and the on-screen dynamic between her and Ron Pearlman's character One is possibly the film's biggest draw. Not a masterpiece, but certainly worth a watch. A great showcase for the tenacity of children (and for the antics of Dominique Pinon and Jean-Claude Dreyfus)
Caro & Jeunet offrono un film ambizioso, con grandissimi pregi, ma anche grosse pecche. Il soggetto di base è interessante, ma purtroppo sia la trama che la sceneggiatura presentano un paio di buchi, a parer mio tranquillamente evitabili. Il film si salva grazie a delle buone performance recitative, specialmente da parte di Perlman, oltre che a delle scene visivamente godibili e sorprendenti. Vale il vostro tempo.
I'm starting to get fucking annoyed by Jeunet's overuse of the fish eye lens. Not only that, the quirkiness of his films feel kind of juvenile. A fairy tale for adults? Maybe, but a fairy tale that drags way too much in the middle and has annoying characters (ok, Perlman is excused, and maybe the girl, because she's the least annoying child actress I've encountered so far).
This is the style of film I am most captivated by - over-the-top dystopian fantasy and "how the fuck did they do that?" set design. While there are other Caro/Jeunet films that rank higher for me, I don't know if a whole lot could go wrong with Marc Caro visuals, Angelo Badalamenti doing the score, and Jean Paul Gaultier doing the costume design. Awesome crew.
Un film que j'ai vu de nombreuses fois, à tort. La magie n'opère plus, les effets sont fatigants, l'histoire ne me provoque aucun émoi. C'est un conte dystopique, certes, en général j'adore les deux genres. La magie de Jeunet avait fonctionné lorsque j'étais jeune, désormais, une belle photographie ne fait plus, pour moi, un grand film...