Terrible acting, screenplay and direction.

Did you people see the same film I saw?

Brilliant and touching

Better Late Then Never

Journey to Paris. Watch the sun rise from the steps of the Sacre Couer. Have your midday meal along the Champ Elysee before climbing atop the Arc de Triomphe less than 50 paces away. Catch the last lift up to the top of the Tour Eiffel that evening and reflect on where you've been. If you're like me, contemplative and curious, it is hard not to go from one place to another, gazing back at where you've been (from the highest point of any of these sites, the other two are visible), contemplating the people you've seen in passing, wondering who they are or what their lives entail. Paris, the film, is reminiscent of watching my home videos of my last trip to the City of Lights and focusing on the strangers in the background, strangers I will never meet or see again, yet forever they are captured on my camera. Although the synopsis of this film focuses on the Juliette Binoche character, this is really an ensemble piece, like Altman's Nashville or Short Cuts, or the first two-thirds of P. T. Anderson's Magnolia (which degenerates to fantasy in its final third). Unlike those well-made American films, however, Paris is populated with characters whose intersecting lives feel less than forced. Most of the connections are no more clearcut than the connection you have with the woman on the street for whom you held open a door. And yet, each life is quietly beautiful in its own right, subtle and often unresolved. The film's final image will not so much take your breath away as inspire you to look out your own window, be still, and look for the beauty of your own passing moments.

For anybody who has been following the career of French film maker, Cedric Klapisch (When The Cat's Away,The Spanish Apartment,etc.),this film is a "must see". 'Paris' is Klapisch's love letter to his beloved Paris. Like one of his American influences,Robert Altman,Klapisch's films are ensemble pieces,with overlapping story lines. In this one, we see several Parisian characters who we can easily identify with. There is Pierre,a former dancer,who has learned that he may not have much time left,due to a heart condition. He spends most of his time staring out the window of his apartment,watching life pass by. There is his sister,Elise,who has escaped from a bad marriage,who takes her three children & moves in with Pierre,hoping to somehow cheer him up & try & live with his malady. Other elements include a fifty something historian & professor at the local university (Roland) who has an eye for an attractive student in his class,but is too shy to talk to her up front, so he sends her mushy love letters via text message. Roland's younger brother,Philippe,a well respected architect,who is about to become a father for the first time. Other characters drop in & out of this nicely balanced overview of Parisian life. Klapisch casts his film with the best in French talent that one can conjure up (Juliette Binoche,Roman Dupris,Fabrice Luchini,and the always welcome on screen,Franscois Cluzet). The film's impressive cinematography (with lots of sweeping over head air shots of Paris)is by Christophe Beaucarne. If you got your proverbial groove on with 'Paris,J'taime',check this one out. Spoken in French with English subtitles. Not rated by the MPAA, this film contains pervasive strong language,brief nudity,some sexual content & the aftermath of a horrible automobile accident. Not such a good choice for the little ones (who would probably be bored reading subtitles,anyway)

At first, I wanted to see it for the setting of the story, then I had some misgivings because it might turn out to be a showcase for famous French character actors, without much of a story. I was pleasantly surprised to see it that it was complex, heartfelt, and very engaging on top of being one of the most gorgeous French films ever.Its beauty originates from the way the story is executed. "Paris" is not hesitant to show emotions; yet this are wrapped in the usual, multi-layered style of foreign films, where nothing is simple or very obvious. This time there is a balance between getting emotional and trying to show it with style. There are several intimate scenes, bordering, on a style that is so realistic, it's almost like being there, filming a documentary; so immersed are the performers in their roles such an atmosphere develops. One truly remarkable scene has them in a party, and it is hard to believe this is a fictional movie. Each of the dozens of performers seems to belong there. They don't seem to be playing fictional characters; instead, they seem to be real people in front of a camera, recording a private time in their lives.The film deals with many story lines, but the core theme is "Life is important, regardless of its stage." We see rich people, merchants, brothers and sisters, immigrants, many facets of the Paris of today, and they all share emotions and situations; they all must deal with consequences, unexpected events, with all life offers / takes away. There is love, death, anger, romance, silliness, family, and more, spontaneous connections, deep relationships, all make brief but felt appearances.There have been similar films before, but I can't think of one so well realized, so beautifully performed, and especially, lovingly photographed and scored. It is a postcard and a tribute to a city that prides itself with being beautiful, sophisticated, and dares to admit not everything is perfect or harmonious."Paris" offers some of the most exciting and best hours of movie making this year, and you should treat yourself to it.

The movie is mostly made of vignettes following several characters, loosely interconnected in the city of Paris. Sounds familiar. To be honest, I've grown tired of the many dramas borrowing that formula. It's become an epidemic, especially since Magnolia. And so, I did not expect to enjoy Paris all that much. But I loved it and it moved me by its stripped down, sincere approach.Director and writer Cédric Klapisch, unlike several of his contemporaries, did not feel the need to employ convoluted means to link these characters, or end the movie on some sort of unifying, highly artificial bang. Klapish wisely elects to concentrate on building strong characters. He succeeds, so much so that it becomes easy for him to create simple, believable story lines for them. The real link between them? They are fallible, restless, tentative, longing... in other words, they are human.There's a large cast here and Klepish mostly concentrates on a few of them. Many of the smaller parts are actually as intriguing as the bigger roles and I caught myself wondering what would happen to those characters. But Klapisch stays the course and ends the movie much like it began. A lot is left unresolved, much like life. No Hollywood ending here but I could certainly have followed those characters for another hour if need be.A beautiful, stripped down story but enough subtext and genuine quality to make for a great and lasting movie experience.