User reviews

This was my introduction to the world of Jacques Tati...and I liked it. If Tati's filmmaking M.O. was to remind us of Charlie Chaplin & Buster Keaton, mission very successfully accomplished. 'Mon Oncle' could have been a silent film. It uses sound effects and music to tell 75% of the story anyway, just as Charlie and Buster and their contemporaries did so well in the talk-free era. He also has their simplicity of camera movement. And as with those film giants, Tati is the star/director/producer and co-writer of this project. His recurring Monsieur Hulot character isn't as famous as the Little Tramp, but the quirky Frenchman is just as bumbling and likable.

In line with Chaplin's 'Modern Times', the theme of 'Mon Oncle' is the inability of one man to adapt to new technology. The slapstick sequences that result from the clash of man versus machine are more amusing than truly hilarious. There are a few big laughs, but you'll smile more than than you'll guffaw. There's no standard plot. Hulot's sister, her husband, and their son live in an ultra-modern '50s house. (This weird set is truly magnificent.) Occasionally, they have trendy guests---the out-of-place Hulot among them---and he inadvertently gets the ball of chaos rolling. If his sister's house is too bizarre for him, he still gets to enjoy old-fashioned pleasures in other areas of France. He doesn't fit in with these social climbers, but the man is charming and unflappable in his own eccentric way.

This movie looks as stunning as Hitchcock's 'Vertigo' (also released in '58). Both pictures use colour extraordinarily well (especially green) and Tati's film would be worth seeing for the visuals alone. He also makes it a delightful aural experience with a jaunty music score and comical sound design. It's not all a cold technical exercise, though. The acting is a bit exaggerated (except for Tati's underplaying), but they only look foolish in the name of laughs. Will you enjoy a French comedy from nearly 50 years ago? Is 'Mon Oncle' just a critical darling (Oscar for Foreign Language Film, a prize at Cannes) and not an audience picture? Hey, I didn't think I'd be entertained by a two-hour French trifle, but I was. Rent the Criterion DVD and drink in the plush visuals, then have some grins. Come for the pretty, stay for the witty.

The word I would use to describe this film is "amusing", not "hilarious"; "amusant" rather than "rigolo". It gently charms a smile onto your face. Only rarely does it bring out an actual guffaw (when M. Hulot is faced with his sister's kitchen, for example). Tati refuses to impose his own ideas of what is important on the viewer, which is usually done by spending more screen time on them or zooming in. The title (usually considered to be important) is a scrawled piece of graffiti which stays on the screen for less than 1/2 second, but there are long sequences showing M. Hulot's apartment. The viewer has to work to see Hulot appearing (apparently randomly) in the various windows of the building as he walks through it. I love the window which is inexplicably at foot level in which you can see Hulot's feet turn to the wall as the feet of a woman dressed only in a slip appear.

In other words, this film is a stroll where, if you keep your eyes open, you will spot some amusing things going on. And France is a great place for a stroll.

Two more things. While the comparison to Chaplin is apt, I was led to think of later characters, particularly Hrundi Bakshi in Blake Edwards' The Party and another almost silent character, Rowan Atkinson's Mr. Bean. Indeed I'm sure Atkinson stole ideas from this film.

Also, I think it is misleading to focus too much attention on M. Hulot's struggles with modern tech. The title, Mon Oncle, should direct our attention to the nephew, for whom Hulot is a parole from the prison of his sterile house, enabling him to run with the kids, get dirty, buy doughnuts from a grubby vendor who applies the icing sugar with a bare hand and play practical jokes on passers-by (with Hulot ready to cover for him if need be). Fifty years later these comments are even more biting as we look at a whole generation of children raised in this kind of inhuman antiseptic environment: overweight, with eating disorders and allergies, socially inept with only a TV and a video game for a friend. Makes a dachshund in a red coat want to run with the mutts and tip over a garbage can or two, doesn't it?

Tati's Oscar-winning movie has often been criticized for being the most conventional of his films. I am sure this is true, but on the other hand, there is still enough Tati inside this film to recognize it as one of his. And a touch of storyline and continuity can never be detrimental for a film, not even for a Tati. Actually, this is the most satirical Tati I have seen and therefore, in my opinion, the best. A true masterpiece, unbelievably full of ceative ideas. And I do not understand, how the Academy could award Mon oncle as best foreign film and at the same time completely ignore the tremendous production design.

Mon Oncle is a movie with a lot of subtle humor. You don't need subtitles as all speaks for itself. Also Monsieur Hulot only speaks when they ask for his name. It is an attack on modern times with the stupid superfluous technology that does not serve but make people crazy. Also the snobs are made ridiculous by their own technology and children, The film starts and ends with dogs. The dogs more or less are an example how man could be: free, having fun without the the obstacles of daily life they create themselves. The dogs are the winners. The children show us how adults easily can be fooled and also they always win.

In most of his movies there is only one typical french soundtrack that is constantly repeated, it enhances the suggestion of being in France and part of it. The sound is separately added to the movie and has the effect your hearing is far more sensitive. This also enhances the effect of being part of it.

The house with this special gravel garden is shocking modern considering the 50's the film was made. It is almost a piece of avant-garde art.

Take your time to watch it. This movie is art, not just another film that rolls out of a movie factory. Tati creates his own world that shows us who we are. Tati made his masterpiece but I can understand many people will not notice all the humor that passes.

Like in "Vacanses de Monsieur Hulot" and "Jour de Fete" there are so many subtle moments of humor, it is normal you will miss some.

It may be "The Party" with Peter Sellers was inspired by Mon Oncle as it has the same ingredients: the modern house with technology and the snobs that own it.

There is not anyone else who made films like Tati. In Europe Tati always was respected and admired for his work. Except for "Trafik" I have all films on DVD. All members of a family can watch these films.

I only recently discovered the work of Jacques Tati. As a fan of the great movie comedians-auteurs (Chaplin, Keaton, Brooks, Allen), I wanted to see Tati's work. So far, I have only seen PLAYTIME, MR. HULOT'S HOLIDAY and finally, just recently, MON ONCLE. I can easily say MON ONCLE is not only the greatest comedy of Tati, but also one of the finest comedies ever made. It is truly hilarious. I found MR. HULOT'S HOLIDAY to be just a bit slow at times, where I might find myself losing interest for a moment. PLAYTIME was a bit too "mainstream" with many big special effects and so on. But MON ONCLE is simple yet hilarious. For 117 minutes, Tati keeps the viewer in his own world of comedy. The ultra-modern house gadgets were hilarious, making for some very funny sight gags. Tati's Mr. Hulot character belongs in a gallery of great comic film personas, along with Chaplin's Little Tramp, Keaton's Great Stone Face, Allen's neurotic New Yorker, and Brooks' Jewish characterizations. MON ONCLE is also beautifully photographed in color, which adds a lighter touch to the comedy. I've noticed that Tati's films are unlike those of anyone else. The style is all his own.

A superior sequel to 'Mr. Hulot's Holiday', it has a more solid story, funnier jokes and some things to say about the coldness of modern technology this time round. The humour does not rely on the dialogue, as there is hardly any, but it does not rely on physical humour either. Instead, the puns come from the way in which Tati sets up the shots. The mathematical precision of certain sequences, and the way that the actors are positioned within the frame, are what is amusing. The jokes are much more subtle, not hand-delivered, and therefore there should be more that can be picked up on multiple viewings. One of the funniest scenes gives a building two moving eyes, thanks to a clever set design and great lighting. The art direction is simply excellent, the music is wonderful, and the timing for every shot is just superb. Not everything is brilliant though. The continuity is a bit off at times, no thanks to some awkward jump cutting, and towards the end the jokes become a bit repetitive and tiresome. There is also little plot, but there is certainly a satisfactory amount of storyline, it being an original take on the fish-out-of-water plot line. The supporting characters are silly, but they actually benefit the film here. Characters such as the neighbour show just how out-of-touch some persons are in the technology crazed world. This film may not be for every taste, but I simply found it delightful stuff myself.

Jacques was making a movie to WATCH for future generations to see how the simple social life in the small country towns were going to be killed off with modernism and technology. In his world, safety, community, young/old mixed socialized, street sweepers socialized with Gov't officials... modernism: Isolating, cold, ignorant. Material goods cannot replace a good doughnut and horseplay outdoors. A Vingnette of how the world was changing at that time to where we are today. The music plays in the small quaint town. Where happiness and familiarity go hand in hand. As we see he can survive in that world fine. Modernism is replacing and displacing kind hearted men like my Uncle. A simple loving man who loves the countryside and can no longer assimilate into the new modernism. The movie is done with love and slow funny visuals. It is to be absorbed, and watched as if YOU are the Voyer one summer with My Uncle. The storyline a Social Commentary of post modernism.

Jacques Tati needs a statue in the movie history hall of fame. He will have it, eventually. As an actor, he created Monsieur Hulot, a sort of post-modern Chaplin, walking through the world as estranged and yet delighted, as a middle-aged ET. As a director, he did about the same thing, but added a visual brilliance, a classical sense for the absurd, and a lot of poetry.

Mon oncle, My uncle, is pretty much the manifesto of his artistic raison d'etre. The uncle, Monsieur Hulot, with his timeless, almost zen-like attitude to life, is contrasted by the successful bourgeoisie family, trying so hard to shine. What happens in the movie, is simply the little everyday absurdities rising out of this meeting of contradictions.

Tati makes fun of everyone, but in such a gentle and loving way, no one gets hurt. He is truly enjoying himself, when observing the little madnesses of modern man. There is no call for anyone getting really angry at anyone else.

Still, there are statements, and they are provoking if pondered. Tati probably succeeded in balancing the 1950's unreserved delight in consumer gluttony, with a bit of a taoist reconsideration as to the significance of it all. Without Tati and his movies, it is quite likely that we would have taken much longer in glimpsing the futility of earthly possessions, and that which has for the last half-century been called progress.

And contrary to many other movies of up to the same age, Mon oncle carries the years with just as straight a posture as the one of Monsieur Hulot. They should show this movie in the schools, so that all kids get to see it and reflect.

A truly lovely film, beautiful photography, lovely sets, warm, funny and sad all at the same time.

Perhaps not as funny as M Hulot's Holiday, what could be funnier than the scene of him playing table tennis in the hotel? But a really good tragic-comedy.

I love the way Tati uses the film as a kind of anti-modernism film with "L'Oncle" being the tradition vs his family's obsession with modernity - the click-click of his sister's heels on the garden pavement in their box house and her routine of starting the fish "fountain" every time someone calls is a treat.

These films should be shown more...

Amusing and lively movie with enjoyable humor in which Hulot is back again in this slapstick and splendid comedy . The second of Tati's cinematic romps in which lovable Mr. Hulot (the first was ¨Mr Hulot's holiday¨ in which to be found in vacationing at a holiday seaside resort) , Tati's recurrent of the common person confronted with increasingly mechanized and depersonalized society where he accidentally originates destruction , disaster and catastrophic events . This time around , the botcher but beloved Hulot is taken under the wing of his oh-so-chic in-laws , -Jean Pierre Zola- , who live in a futuristic suburban mansion dominated by every conceivable form of embarrassing electronic gadgets . Needles to say , Hulot's old world mentally can not adapt to this strange new environment and the result are , to put it mildly , horrific . As Mr Hulot is back again in this surprising comedy , as he attempts to keep in a sterile as well a bizarre house but all of its objects , furniture , fountain , garden , automobiles , garage seem to conspire to thwart him at every turn . Furthermore , Tati's bicycle does a fine job in a major supporting role .

This delightfully lighthearted is plentiful of original sketches and fine sentiment . From the beginning to the end the good humor and bland comedy are continued . The film blends tongue-in-cheek , irony , giggles , joy , jokes , social critical and is pretty bemusing and entertaining . In spite of being occasionally disorientated and runtime is overlong , the run is about two hours , isn't boring neither tiring , but funny . The gentle humor developed in the film is clever and thoughtful and the comical numbers vary between slapstick and surrealist . The plot is plain and simple , about the natural natural comedy to be found in factory , home and meeting between Hulot and his nephew . Although partially dubbed , this movie has a mime quality that is marvelous and magical . Jacques Tati is extraordinary as Mister Hulot , this remains one of Tati's most rewarding movies , an universally appealing blend of satire , social critique and good feeling . The great Tati is top-notch with his slapstick and continuous botchers which lead to some really fun moments .

Direction and interpretation by Jacques Tati is magnificent and wonderful . Alain Romain's score -Tati's habitual musician- is agreeable and cheerful . The motion picture received awesome reviews and deserves the complete knowledge because there are amount chuckles and entertainment . It is also the only Tati picture to win the Academy Award for best foreign movie . The flick was stunningly directed by Tati who also made other masterpieces , such as : ¨Jour De Fete¨ , ¨Playtime¨ , Traffic¨, and ¨Parade¨ . All of them plenty of visual gags and situations worthy of the great silence comedians and the viewing is more than enough to provide lots of laughs . The picture is nowadays considered a European cult film .

This is Tati's 'Modern times', a critical stab in the side of civilization and the changing of the times in Paris in the late 1950's... and it's absolutely delightful and disarming in its simple display of the absurdities of human behavior in relation to it. I vaguely remember watching this as a nine-year old... and 29 years down the track, it's a great realization to suddenly understand why Tati was regarded as a true movie-making artist. Watching this lovable gem of a movie is like watching a pastel painting elaborately (and slowly, so patience is required!) coming to life. Just watch that recurring shot where the crumbled brick wall borders the old-time, lively street to the new, sterile concrete apartment complex blocks. Symbolism at its best!

No laugh-fest exactly, but it's loaded with charm, both heartwarming and satirical, with an attention to sets, props and character detail that's quite amazing: the opening credits... the ubiquitous dogs, the street-sweeper, the vendors, the bar guests... and most importantly: the whole household (and garden!) of Hulot's sister! And finally, what about that accordion music score? It has to be one of the best in cinema history!!

8 out of 10 from Ozjeppe

I'm unsure of what to make of this film. Some of it is quite funny and some of it is not. I know many people who swear by this film and its a winner of numerous awards and yet I'm left scratching my head.

The plot is simple, Jaques Tati's Mr Hulot tries to come to terms with a changing world as exemplified by his sisters family who lives in a modern home with all of the latest gadgets. In its way its what happens after Mr Hulot gets back from his vacation. (see Mr Hulot's Holiday)The film is a series of loosely connected bits as we see the family and what they go through and how the basically pastoral Hulot deals with all the modern push button conveniences.

Coming as I am late to seeing the films of Tati after having read about them for years I wasn't sure what to expect. It was only several months ago that I finally say Mr Hulot's Holiday and fell in love with it and its style. Based on that I picked up Mon Oncle. I finally sat down to watch it, after reading a Tati biography in the interim and was greatly disappointed.

I think part of the problem is that the film is very leisurely. It takes a while to set up a gag indeed several sequences seem to have no point only to have a pay off later in the film, if at all. Yes, they generate laughs but there aren't enough of them.

Worse there is a great deal of repetition in the film. Several times we watch as Hulot goes up to and down from his roof top apartment, we watch the whole trip and even allowing for the slight variation of the people he encounters it gets monotonous. There are instances where we get repeated actions, the fountain gags for example, that are kept to the for front each time they occur even though they could be pushed to one side. Its too much of the same thing.

There are laughs. Much of the first half hour, when most of the jokes are new, is very funny, as is the garden party, the "sausages", and the old man attempting to cross the street towards the end. It can be a very enjoyable romp.

Regrettably I don't think this is the be all and end all that some people feel it is. Granted if its like all of Tati's other films a second viewing might reveal it to be much funnier and better than first thought. However as it stands now I find it to be a funny but very over rated comedy.

Rent it before you decide to buy it.

Mon dieu. I love the idea of a combination of an homage to silent films and a satire of "modern life," and there is undeniably a charm and simple sweetness to this film, but it was just a little too simple for me. The sound design and overall aesthetic are wonderful, but it was too slow, with the gags taking a long time to develop, and then only with small payoffs. Buster Keaton apparently said that Jacques Tati was carrying on the best traditions of silent comedy, and that comment notwithstanding, I thought the comedy here lacked the vitality of the better silent comedians. It's impossible not to think of Charlie Chaplin in Modern Times when Hulot (Tati himself) starts work at the 'Plastac' factory, but the visuals and humor are a pale reflection of that masterpiece.

There are amusing little bits like the steak flipper and sauce dispenser used while cooking, the giant circular windows that tilt open to show a neighbor furiously churning her legs to power a ridiculous looking lawnmower, and the homeowners' heads appearing like pupils in these windows at night. This is a world where artistic chairs are uncomfortable, office space is unrelentingly sterile, and a fish fountain at home is activated by the touch of a button when a guest arrives, and just as promptly turned off when they leave. That's humorous as a basis but not enough is done with it, and the moments I smiled were few and far between. It's one I wish I could say I enjoyed more given its reputation, but I gotta be honest, I was glad when it was over.

Here Jacques Tati tries to show by his gentle satire how de-humanised we are becoming (and this was half a century ago!). The passion with which people hurl themselves into 'the new', at the price of their souls, the glee with which the patina of the ages is scraped by the sandpaper of market forces from the surface of our lives, is here shown for the mindless vandalism it is. Tati shows how his sister in the story, devoted to him though she is, is a vandal of all that he holds dears about life. Her twee idolatry of mechanical gadgets, her worship of the fashionable, and her social enslavement to the opinions of others, render her a threat to the world. Tati tries to save his nephew from this moral corruption in his bumbling way. Gag after gag expose the hollowness of the mad world of affluence. Tati 'goes his way', breaking things, tripping over things, embarrassing everybody, making a mess. But it is the unplanned and truly precious mess of real life, of the natural way of living, that is the subject of Tati's Ode. Tati is a charmed fool, an innocent, because he cannot be contaminated. He is a kind of idiot savant, and the temptations of the banal cannot reach him. There are some wonderfully funny moments in this film, but its humour is more generally diffused throughout as a kind of pervasive glow. It is another Tati classic, to be savoured by those who do not have to rush off, but instead are prepared to share 'moments of being' at the pace of pre-modern existence with this man who would rather be thought stupid than be corrupted.

Seeing a Jacques Tati movie again is like visiting old friends: absence makes the heart grow fonder. As the awkward and innocent Mr. Hulot, Tati faces the complexities of modern life with absentminded detachment, never noticing how out of step he is from the rest of the world. He is, as his sister explains in the film, "vague", but it's precisely this air of agreeable confusion that appeals to his young nephew, who prefers the comforts of his uncle's ramshackle, traditional neighborhood over his own mechanized, sanitized, "all-communicating" house.

And where Hulot goes, havoc follows—through no fault of his own. Tati's bumbling comic alter-ego is too passive and benign to instigate anything resembling trouble, but he nevertheless manages to leave a trail of painless mayhem in his wake. Hulot is more a plaything of fate, in much the same way as Buster Keaton but on a more recognizably human level. And through him Tati was an astute, impartial observer of social idiosyncrasies, mocking our habits as gently as he mourned the passing of our traditions.

Some of the jokes are so casual they almost pass unnoticed, but each one has been painstakingly constructed and rehearsed, from the lightest chuckle to the largest belly laugh. In a brief but telling episode Hulot dislodges a small stone from the already crumbling wall separating the old neighborhood from the new, and with hardly a pause reaches down, embarrassed, to needlessly replace the loose chip.

The moment is over in an instant, but shows the subtlety with which Tati arranged every detail of his films. For Tati, inspiration was the result of long planning and hard work, and the effort here won him (deservedly so) an Academy Award for Best Foreign Language Film.

This film is probably the best work by which to introduce someone unfamiliar

with Tati. I think the viewer must see it more than once to appreciate the odd little sight and sound gags. From the moment we are "buzzed" into the cold

home of Hulot's sister and her family we are privy to the little pretensions our hostess employs to impress her neighbors. A gurgling fish-shaped fountain is

only turned on when company comes (not included is Mr. Hulot, the

protagonist). At every turn the viewer can savor the contrast between this

small rustic French town and those striving to live out the modern dream life. From factory to home every nuance is gently ridiculed. As a fan of modernist

style I like this film, for it keeps me humble.

Mon Oncle is about Hulot, an old fashioned gentleman who lives in a bustling old world town. His lively neighborhood is sharply contrasted with the cold, futuristic home his sister lives in with her husband and son. There is practically no exposure to the outside world within the gated courtyard of Hulot's relatives, just the organized efficiency of technological gadgets. The boy can't stand his lifeless surroundings so it's only natural that he prefers to run off with his uncle instead of playing with the expensive toys his father gives him.

Hulot's sister isn't satisfied with his impoverished bachelor's lifestyle but her attempts to change it go terribly wrong as the jobs she tries to place him into are in a world of mechanized production (of plastics no less) that he isn't equipped to deal with and the neighbor woman she tries to set him up with is ensconced in a lifestyle even less hospitable than the modern factories. Eventually Hulot's humanity proves to be indomitable and his family finds itself adapting to his needs since he can't be adapted to theirs.

At 115 minutes the mostly plot less Mon Oncle proves to be slight and overlong in spite of the general likability of the protagonist. For a film that is ostensibly a comedy the humor is too subtle to keep the film interesting for its entire running time. Still, the soundtrack is delightful and there is enough charm in Mon Oncle to make it a worthwhile experience for patient viewers.

Jacques Tati's Academy Award winner for Best Foreign Language Film from 1958 is a very funny ode to a simpler and more organic way of life in the face of increasing technology and sterility. People describing it will inevitably use words like charming and quirky. I might also throw in delicate and possibly even wistful. Most of the movie plays like a silent comedy, and the majority of the humor comes from sight gags and physical pratfalls. I do think it overstays its welcome a bit by the time it's over. It's like ordering a dessert that you really enjoy but that is just two or three bites more than you want.

This is my first, and thus far only Tati film. It's cute, clever, and humorous in abundance. Did I bust a gut during this film, no, but that does not in any way deny that it is humorous throughout. Other than a comedy it's hard to classify Mon Oncle. It has elements of slapstick, satire, parody, social commentary to name just a few ingredients, plus some very adept performances. It's very short on dialogue and it will definitely not be everyone's cup of tea, but for me at least it served up and cup full of delights.

I recently saw and loved the movie MON ONCLE. Many people might be put off by this movie because it's French, or made in 1958 by Tati, but screw 'em. It's the most beautiful social criticism of Le Corbusier's Machine for Living, and it's funny to boot.

The set up is a sweet quiet guy, the Oncle, lives in a small town on the square. The town is traditional old world, vibrant, noisy, fun and a little dirty. His sister, married to a successful businessman lives just outside town in a huge, immaculate, ultra modern home filled with labor saving devices and starkly furnished. The sister has a young son, the nephew of Mon Oncle. The movie plays with the tensions between the old world town and the ultra modern suburb.

Its shockingly prescient. Plastics are big business, cars dominant the landscape and force people to the margins. The people who live in giant antiseptic homes have little sense of humor or awareness of themselves-except materialistically. The town dwellers are more fun, maybe cuz they aren't always vacuuming and they hang out in cafés. But enough with the critical thinking, this movie is FUNNY.

The way Tim Burton's BEETLEJUICE visually skewered modernism, drew heavily from MON ONCLE. Some of the uncomfortable chair gags are almost identical. There's very little dialog and many scenes, like the dogs romping thru town on their own adventures reminded me of the some of the shorts SESAME STREET used to show or Buster Keaton flicks. The masterful situation and prop humor reminded me of the best work of the 3 Stooges or Jerry Lewis with the volume set on mute.

The movie is also a visual stunner, Tati could really frame a scene. The opening credits are groundbreaking and have inspired MANY movies since, including Apocalypse NOW. The modern home and it's furnishings have the "shock of the new" almost 50 yrs later.

The only folks I wouldn't recommend this movie to are McMansion dwellers committed to the superiority of the suburbs. Everybody else needs to see this, seriously, you'll be glad you did.

Monsieur Hulot (Jacques Tati) is a mostly silent character going about his days. His snooty sister and her family live in a terribly modern home where the technology is out of control. Hulot is a Mr. Bean type character and this franchise works as long as he does Mr. Bean type things. There is far too much time that leaves him off the screen. I didn't understand the hose premise at first but turning it into a sausage is funny. The movie should have Hulot staying in that house and screwing up with the technology. That's it. That should be the movie. For what it's worth, I do like this slightly more than the first one.

Jacques Tati movies seem to be just like Wes Anderson movies. Everyone seems to think they are hilarious to watch, while there is actually very little happening in their movies and all have a slow pace. The stories are thing and mostly consist out of quirky looking characters doing uninteresting things. I'm sorry, I just don't think there is anything funny about it at all.

I'm actually really fond of slapstick comedy but Jacques Tati just don't seem to connect to me at all with its humor. This is most probably due to its very lacking pace. It's slow and it suggests that it's building up to something that just never happens though. No, I did not hated watching this movie but still thought it was seriously lacking in humor for a comedy.

And really, what is it with Jacques Tati movies and a story. His movies just never seem to feature a main plot line. His movies are literally about nothing and do nothing but concentrate on a whole bunch of characters, going to their normal everyday routines. Of course some silly and humorous events happen and there are loads of returning gags in this but that is basically all that this movie is; the one intended humorously sequence after the other, while in fact most of those humorous sequence don't work out as funny ones because of its slow pace and the fact that just nothing interesting enough is happening.

Strangely enough to me these type of movies really seem to connect to a whole bunch of people and critics as well. It must do something right and hilarious in their eyes, or else it obviously wouldn't had won an Oscar as well for best foreign picture but I just don't see what the appeal is of this movie.

I rather watch a good slapstick from the early 20th century than a Jacques Tati movie obviously!

5/10

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