Wow! Such a good movie.

Sorry, this movie sucks

The tone of this movie is interesting -- the stakes are both dramatic and high, but it's balanced with a lot of fun, tongue and cheek dialogue.

This movie feels like it was made purely to piss off people who want good shows

A feature film can be interpreted in many different ways depending on who is assessing it.For screenwriters, Un Air de Famille directed by renowned French director Cédric Klapisch is a film which boasts of a simple yet ingenuous plot whose strength is revealed progressively.For astute viewers,this is a film which highlights the importance of a family setup especially in the manner people with different aspirations and tastes are able to learn from each other.We get to see how some family members are treated more favorably than others.The learning in question is related to a family whose members gather to celebrate a happy event.The mark of Cédric Klapisch's leadership skills bears its strong imprint on this film not only in the manner he wrote the screenplay with Agnès Jaoui and Jean-Pierre Bacri but also with the sincerity with which he has extracted excellent acting performances from these two famous actors.Apart from being an excellent piece of sumptuous entertainment,Un Air de Famille is also able to score good points as it is a good learning endeavor for everyone interested in French language and culture.This is revealed in the manner in which the lives of married people are delineated.This film also reveals the manner in which a worker's relationship with the boss is depicted.These two facets are useful for anyone who wants to watch Un Air de Famille in order to understand the dynamics of a French family and French language.

it is very easy to make a good french movie : In a jar you put Agnès Jaoui-J.p. Bacri as writers and actors, the delightful Jean pierre darroussin in a supporting play, an adaptation of a stage play and you shake all..... You get "cuisine et dépendances". A very good french movie... What ? Oh, yes, sorry for the mistake. You get "un air de famille". By the way, who is this C. Klapisch ? Oh, yes, I remember this former porn director. I don't know his involvement in this movie as long as it's an adaptation of a stage play ( yes, you're right, cuisine et dépendance too).A good movie for french people. If you are not french you can skip this one. Instead, search for JP Darroussin and Catherine Frot in some other movies ( there are many good ones), as they are as good actors as Agnès Jaoui-JP Bacri are good writers. It's only too bad the recipe is so easy, and has always the same taste.And for Cedric Klapisch he is a good director sometimes. Just try "Chacun cherche son chat" and enjoy some good french cinema.

God this film evokes a certain real France. A scruffy run-down cafe near a railway crossing . The stifling, boring French family meal (I am married to a French girl). I laughed many times (though it's not a comedy), everyone plays their part well,.The best French film I've seen since "the visitors"

Far too easy. From its not very subtle title (meaning the appearance of being a family), this film sets out its stall as a family-as-social-microcosm-style melodrama of the Nicholas Ray school. The material was originally a play, and its cramped theatrical origins suit the film's theme - the breakdown and paralysis of the family.The action takes place in a family cafe - Au Pere Tranquille (here the father is dead - does the film lament the passing of patriarchy, tradition, order? These characters seem like squawking, entropic puppets who have lost their master). The decor of this family home/business is oppressive, dank, hostile (actively so - at one point the mother is injured); characters are continually framed to show their entrapment, and compared to trapped animals - a paralysed dog, a dying fly, tanked fish. Escape and epiphany are tantalisingly evoked only to be cruelly yanked away. Everyone is a failure/loser, even the seemingly prosperous. Bunuel's ghost hovers in the tale of a group of diners who cannot escape their surroundings. Crucially, these characters inhabit a class limbo - that dangerous extremist hunting-ground between lower and middle - that seems to account for their identity crises. Both 'happy' endings are heavily undermined. Everything happens exactly as you'd expect.If ever a film showed the supremacy of the director over the writer in the cinema, it is this one. Alain Resnais used a play by the same writer/actors to create a quicksilver masterpiece, On Connait La Chanson, which was graceful, hilarious, moving, patterned, directed with the lightest of touches, yet profoundly sad and aware of the encroachment of time and death. This film is unworthy of the masters it alludes to: it is flatly directed, without insight; the dialogue (in translation, at any rate) is frequently banal; the characters are often hard to make out in the murky mise-en-scene, or are mere hectoring stereotypes, making redundant the so-called character study. Too many French films recently are working over this same old tired ground with increasingly little result. La Haine was supposed to have blown them all away.(The subtitles are appalling, often unreadable).