A throwback to those late-1990s movies about disenfranchised males regaining self-respect through unusual hobbies: The Full Monty and Brassed Off.
The film director dabbles in advertising yet again, showing that his signature quirk can sell products as well as seduce audiences.
It’s rare to see something at the pilot stage that is so fully-formed and so confident. Also – no small matter, this, for a comedy – it is hilarious.
The films of François Ozon are polymorphously perverse.
Hearing audiences might feel that they are being kept at arm’s length and they would be right.
There is little to surprise a seasoned awards-watcher in this year’s nominations – Ryan Gilbey gives his verdict.
An interesting tension exists in the film between that grunginess and passages of intense beauty. It is a compliment commonly paid to well-shot films to say that any one of their frames could be hung in a gallery. This is unmistakably the case here.