movie film review | chris tookey

Love Me If You Dare/ Jeux d'Enfants

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  Love Me If You Dare/ Jeux d'Enfants Review
Tookey's Rating
3 /10
Average Rating
4.00 /10
Guillaume Canet, Marion Cotillard, Gerard Watkins
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Directed by: Yann Samuel
Written by: Yann Samuel, Jacky Cukier

Released: 200315
Origin: France
Colour: C
Length: 93

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Seductive, romantic... a grown-up fairy tale.

(New York Times)

A captivating, charming and sometimes bittersweet tale about a pair of life-long friends named Julien and Sophie...As they get older, their games become both more ambitious and more dangerous, and the story keeps skipping ahead in time. The ending, which finally cements their ever-changing relationship, is truly unique. It's wild and wonderful. And just downright bizarre.

(Steve Rhodes, Steve Rhodes’ Internet Reviews)

The performances by Canet and Cotillard are wonderful; these two make one of the most delightful screen couples in recent years. Cotillard is radiant and Canet displays the suave insecurity that has, for many years, been Patrick Dempsey's trademark. With a smart script, superlative performances, and some of the most audacious and black-edged comedy of any romance, Love Me if You Dare deserves to be seen by more people than those who will buy tickets. If you like romantic movies but find Hollywood's increasingly sterile formulas to be a poisonous bore, Love Me if You Dare offers an antidote.

(James Berardinelli, Reelviews)

Crammed with incidents, Love me if you Dare flies along in an attempt to replicate the giddy sensations of its characters: one high-speed chase has the narrator Julien pursued by the police and enthusing over the "pure, raw explosive pleasure" of carrying out a dare. Samuell throws in an array of directorial tricks: fast-forwards, fantasy sequences, saturated colour-scheme (especially greens and yellows), digital effects, and skewed angles. Yet the true strengths here are the likeable performances of the two leads, who convey the confidence and the naivety of their characters: this may be heresy to Amelie lovers, but Cotillard is far less irritating and ingratiating than the winsome Tautou. And there's a malevolent steak to the film — whether it's urinating in the headmaster's study or switching bodies in a hospital — alongside its sense of romantic pessimism, which prevents the material from becoming overly cloying.

(Tom Dawson, BBCi)

Smart, original, bitter-sweet.


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