Most undeservingly overhyped movie of all time??

Fanciful, disturbing, and wildly original, it announces the arrival of a fresh, bold voice in American cinema.

A story that's too fascinating to pass by...

This is a must-see and one of the best documentaries - and films - of this year.

How to forget this beginning, with Antoine (François Cluzet), a "failed writer" (like probably many in the audience) writing endlessly to his former girlfriend, each time lying more, giving a version of his success more distant to his low reality. The first phrase about Fred: "he has astonishing capacity to do nothing" is like a mantra, he's the best at that :)! The heist to Antoine's former job (and is aftermath), like Fred's botched attempts at photography to get to Claire Laroche's Agnes. Who's nothing special, but in the context of this professional losers, becomes like a diva, a porn star and an intellectual. The way he finally ends up making himself "useful" is weird to say the least :). Agnes's boyfriend acts and looks sick, a sexual pervert who could resort to anything. And Fred just doesn't care... Nonchalant as ever! Scenes like the Karate instructor's punishment to Antoine would have been botched with most characters, not with Cluzet, who seems to be born to the role. He enters the tatami already cowering, knowing his defeat. Then he's a bit cheeky, like: "What are these suckers doing?". Only later, when he realizes that he's next, and he's going to be trashed... his look is just hilarious! Nowhere better applied this axiom that "the attitude with which you face problems precludes, or causes, the way you'll handle them". Or their attempt to "be nice" to the flat owner, Fred being "a student" (said with the same panache than most real life loafers :)), Antoine even pretends to be ending medicine (and has to suffer the consequences!).Heartly recommended! Cluzet played Luc (the killer's best "friend") at "L' Adversaire" (2002), and before L'Enfer, making life miserable to beau Emmanuelle Béart which demonstrates what a versatile actor he is. Pierre Salvadori had just directed Cible émouvante, a similar story. When I saw this film I just couldn't stop making connections with Bertolucci's "The dreamers". But whereas Bernardo's dream conveyed no empathy for any of the characters, in here we like them both (and they're not exactly likable or have "redeeming qualities", like Tom Brooks (BBC's "Talking Movies"'s presenter) uses to say for criticizing bad movies.IMDb's reviewer dbdumonteil is right at: "its tendency to keep an uplifting look in gloomy social conditions" and "focus on these two unconventional people, unable to adapt themselves properly to the society and to cope (...)".The ending is FINE in the sense that there are no Hollywood changes, uplifting morales or corny music. Just life, in its endless complexity, like on Martha Stout's book "The myth of sanity".Overally, fun and enlightening story about characters who just couldn't care less for society, but end up with us caring for them.

Antoine (François Cluzet), a failed writer separated from his girlfriend, Sylvie (Judith Henry) and has to share a flat occupied by a first-class lazy person, Fred (Guillaume Depardieu) who survives thanks to two-bit tricks. From then onwards, a chain of casual jobs and big woes awaits for them which will make Antoine plunge into depression. Fortunately, the friendship from Antoine is here to support him.And it also keeps the viewer happy. Pierre Salvadori was on a roll after "Cible Emouvante" (1993). To write and film his second effort, he must have drawn into British social cinema, notably from its tendency to keep an uplifting look in gloomy social conditions. From the very beginning, Pierre Salvadori prefers to follow the road of the comedy to focus on these two unconventional people, unable to adapt themselves properly to the society and to cope with social crisis. An accumulation of preposterous situations, well chosen cues constantly maintain laughter and the end is here to give a welcome light of hope. Besides, when the two men play football with the children, it might be a symbolic sequence to reveal what they really are.When you have more than estimable thespians like Guillaume Depardieu and François Cluzet in the affair and if they're sufficiently involved in the project and well directed, you can expect to have a really good time with them. Such is the case here, even if sometimes, the interest can wane because of a big proportion of various scenes. What remains is thoroughly gratifying to give this highly charged comedy a chance.

This story, simply and deeply magical, about these two friends who share a poor life, breath love, friendship and learning of life.Francois Cluzet and Guillaume Depardieu are sensational all along the movie.Cluzet is outstanding, he clearly knows that his life goes nowhere, he fears turning nuts, he's so funny...Depardieu is more naive and naturally optimistic, he's like a lost child, always between ground and clouds.... The movie is full of both realistic and burlesque humor...you cry and laugh at the same moment...simply magical and touching.....I love the Director, Pierre Salvadori, who touch your soul in every movie he makes... For many reasons, one of my favorite movie ever....

The dialogue in this film is hilarious, the acting is superb, and the plot is intelligently constructed. There are no narrative gimmicks - these two mates are normal lads, not drug-addled, not abused by their parents, not victims of horrible fate, prejudice or a miscarriage of justice. This simplicity, coupled with its power to move solely on the development of character, is why the film is so effective. They are losers, of course, but then again who isn't nowadays? Antoine dreams of a nice house complete with nice family and literary career, Fred dreams about combustion engines. They are different, and although it is never directly said by either character, it is clear that their friendship is real and strong. Hollywood would have them opening their hearts either to each other or to some teacher or father figure, but Salvadori is more subtle than that. Their problems are manifest, but never shoved down our throats. What makes this film even more memorable, however, is its ability to make you laugh. Not only is the dialogue clever and just like the stuff you and your mates come out with, but there are also fantastic visual gags, some great set-pieces, and humour emanating from Antoine's withering state of mind (the best being his miserable crossword puzzle clues). I saw this film by accident and it is probably my favourite film, a surprise that will stay with me forever. And it doesn't rely on a pumping, modern soundtrack to keep it alive.