Actuakers
One of my all time favorites.
Mabel Munoz
Just intense enough to provide a much-needed diversion, just lightweight enough to make you forget about it soon after it’s over. It’s not exactly “good,” per se, but it does what it sets out to do in terms of putting us on edge, which makes it … successful?
Juana
what a terribly boring film. I'm sorry but this is absolutely not deserving of best picture and will be forgotten quickly. Entertaining and engaging cinema? No. Nothing performances with flat faces and mistaking silence for subtlety.
richard-1787
This movie is a very mixed bag of positives and negatives.On the negative side: it is very formulaic. A husband wants to win back his wife's love, so he does foolish things, such a pretending to have a mistress to make her jealous. Everything backfires and, to take revenge, she takes a lover of sorts. Those are all clichés, and have nothing new to offer.On the positive side: Christian Clavier and Nathalie Baye - and Patrick Chesnais - are all in top form, to the extent that one can be with very limited material. They create real, interesting, likable characters out of their roles.So: the movie is worth watching for the acting by the leads. Just try to ignore the plot.
leplatypus
It's a movie mainly about rich people and their problems and i don't give a s..t, especially if it's french bourgeoisie in Paris. With all their money, their cars, their shopping and fine clothing, their maid, their driver, they don't have any dust of intelligence or wisdom and they are poor in communicating and sharing together. If their only goals in life are money and sex, well, they don't know what life is about. In addition, this movie isn't funny because it tries to make laugh by taking shoots at the daily life of common people, that's to say us! Geraldine is the only welcoming light in this crap and she is clever enough to run away from it.
n-mo
The title means, "No a**, no cash." The sense conveyed by those words pretty handily sums up the light-but-heavy nature of this film. Jean-Pierre has it all: successful career, beautiful wife, pretty daughter, lots of money, a fabulous apartment and a personal driver to boot. And like so many people of his station in life, he is unhappy.The reason: his wife, Odile, is also unhappy with their marriage. However, she does not show her unhappiness; she simply casts it aside by not putting out and by going about her lunching and shopping. After seven years of this, Jean-Pierre has had enough. He lets his problems slip to his chauffeur Richard, who has a similar problem, sans argent. But Richard knows what he WOULD do if he had money--and he suggests Jean-Pierre do the same.Bye, bye, carte bleue (the universal French debit card) ! The premise is entertaining and the actors are excellent. The visuals are not spectacular for a film set in the Paris region, but that fits quite well with the theme: nouveaux riches with too much money, too much time, no taste at all and in general no substance, virility or profondeur. On the whole, the Ménard foyer is one of materialism and avoidance--thus the source of the problem.However, the poor man doesn't get off any better: between Richard's misplaced machism and unwillingness or inability to communicate on complex ideas and Caroline's inflated ego and voluntary emotional detachment, that marriage is also on the rocks.The longer the film goes on, though, the more it suffers: the premise is comic enough but the themes and the substance are very heavy, and the ultimate development of events leads to something that simply cannot be swallowed comically. The last third or so of the film would work much better as a melodrama, but it is not properly executed as such.The ending is a welcome positive note, but on the whole I have to think that this would have been much better had it been shot on a more up-scale, serious, "classical" level.
writers_reign
Alexandra Leclere is clearly going to become yet another French female director to reckon with; she followed the Short Bouche a bouche with the full-length Les Soeurs fachees for which she secured the services of Isabelle Huppert, Catherine Frot and Francois Berleand and did them all proud with a fine light comedy. For her second full-length entry she has cast Nathalie Baye and Christian Clavier - who knows a thing or two about writing and directing himself if anyone asks you - as an affluent husband and wife, complemented by Gerard Lanvin and Geraldine Pailhas as their working-class - Lanvin is Clavier's chauffeur, Pailhas a shop assistant - counterparts. It turns out that both husbands have the same problem; neither is getting any. Clavier's immediate solution is to withdraw Baye's Gold Credit Card but all that buys him is a reluctant statue. The two men bond after a fashion and Clavier moves into the front seat, takes Lanvin to five-star restaurants for lunch and invites the chauffeur and his wife to dinner without informing Baye. There's a lot of product placement going on which helps enhance the values that Baye lives by (sorry about that); Ferragamo and Dior are both shown via their bags and also the establishments whilst Pailhas is a salesperson at Galleries Lafeyette - when Baye is browsing there Pailhas accosts her and they play a long scene outside a sign saying Galleries Lafzyette Staff Entrance whilst for good measure Pailhas has the store's logo on her uniform. Another fine actor, Patrick Chesnais also turns up around the middle as 'other man' material for Baye and it all ends happily as films of this sort should do. A worthy successor to Les Soeurs fachees and highly recommend.
