Metacritic reviews

Who wouldn’t want a picturesque trip to the French capital that delivers more laughs than a nitrous oxide leak near the hyena compound? In fact, I’d go as far as to promise that Lost in Paris offers the three most delightful sight gags you’ll see on screen all year.

It may be a specialist’s rarified sort of work now, but Gordon and Abel really know what they’re doing. It’s gentle and admittedly closer to a divertissement than a full-course comic meal. But no one else is doing anything like this at the moment.

Lost in Paris is nonsensical by design, a comedy of the absurd that’s always entertaining and occasionally pure.

Although rife with pratfalls, near-misses, crazy coincidences and mistaken identities, “Lost in Paris” is a whirligig contraption that never turns frenetic or throws too much at you. It’s like a Jean-Pierre Jeunet farce on Xanax, with a soothing dose of Wes Anderson whimsy for good measure.

The pair blends storybook visuals with a stream of clever gags and oodles of pathos to deliver an infectious romance almost too eager to please at every turn.

A throwback to a kinder, gentler comic sensibility combining the surreal, the whimsical and vaudeville, Lost in Paris successfully delights as two misfits continue to find themselves beholden to the kind of destiny that only graces visitors to the city of lights.

Lost in Paris grows a bit tiresome at feature length, but it’s a winning divertissement.

Lost in Paris abounds in whimsy that, for the most part, isn't irritatingly precious—a feat that's harder to pull off than it appears.

Quirky to a fault, the film’s most absurd moments are nevertheless grounded by the human need for connection.

Fiona Gordon and Dominique Abel’s signature style blends screwball and romantic comedy with playful fantasy, but Lost in Paris lacks the magical elements of their previous features.