Search results for: Jean-Paul Rappeneau

"As the film begins to scale up toward its monumental conclusion – and monumental is the only word for it – Malle’s vision of Paris devolves into a nihilist, gridlocked netherworld of juggling polar bears, fascist restaurants, dream sequences, food fights, dancing girls, destroyed automobiles and enough broken champagne bottles to launch a thousand ships. Just when you thought the film had reached a critical mass of absurdity, there’s always a new, even broader exercise in cinematic Dadaism emerging from the rubble. Eventually both the film and the subway strike resolve and the imaginative world of Zazie returns to normal, but most viewers will find that reentry difficult and even slightly depressing."

The Not So Great Escape

The Toronto International Film Festival is set to unspool its latest monolithic program. A major cue to set Oscar season into motion, the line-up...