As is to be expected, the film has a few thespian misfires; similarly, its multidimensional scope prohibits the narrative from focusing on any single character. At least, that is, until the very last scenes, at which point only a few riders remain. But the fluidity and immediacy of Gondry’s eye (and camera), and the film’s identification with a city’s youthful life force are infectious. Embedded in his subject matter, the director, in essence, has gone native.
March 01, 2013