Jean-Pierre Jeunet
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Channeling the dark and moody dystopian worlds of Terry Gilliam’s Brazil and Marc Caro and Jean-Pierre Jeunet’s Delicatessen, The Double is staged in a universe that seems futuristic but also recalls the early days of computer databases.
Like the off-kilter retro-futuristic worlds of “Brazil” and “Delicatessen,” “The Double” feels like a parallel universe that allows more fascinating things happen.
The production design (by David Crank, There Will Be Blood) recalls Brazil or Delicatessen, but less fun.
For all that, the The Double often feels as indebted to Brazil and Delicatessen as it does to those geniuses.
The Shape of Water (2017)
Directed by Guillermo del Toro
influenced by Amélie (2001), Delicatessen (1991), The City of Lost Children (1995)
Visuals Themes Music
Review: The manufactured sense of nostalgia, the whimsical protagonist, the dewy-glazed visual palette, the twee romantic setup: these all had me fearing a jaunt down Amélie way in the opening scenes of The Shape of Water.
If you know Delicatessen , The City of Lost Children and Amelie , you'll be unmistakably reminded of their colour palette and sense for an interior space.
If you can imagine an aggressively adorable (and somewhat effortful) version of Amélie in which our hero fucks the Creature from the Black Lagoon, then you'll totally be feeling this.
Though set in Baltimore in the early 1960s at the height of the Cold War, Guillermo del Toro's The Shape of Water truly takes place in Movieland: that generic realm of borrowed fantasies where The Majestic and Amélie are also set.
You’re being charmed by the Amelie-like musical score and the whimsical characters when oh, hey, there’s Michael Shannon being very gross while having relations with his wife.
If you know Delicatessen , The City of Lost Children and Amelie , you'll be unmistakably reminded of their colour palette and sense for an interior space.
One can tell that such a quality is going to run rampant, starting with the title card (the first three letters of the title in one line over the next three in the second line over the final three in the third line) that's quite reminiscent of the same in Wes Anderson flicks, while the voice over narration and little and quickly edited comedy asides feel quite a bit like the same in "Amelie" and others of their ilk.
Ayoade borrows liberally from other filmmakers, including the family dynamics of Noah Baumbach's The Squid and the Whale and the speeded-up graphics of Jean-Pierre Jeunet's Amélie .
For all these reasons, it may seem a tad weak and derivative in its structure and approach compared to a number of prior and more superior films such as Jean-Pierre Jeunet’s “Amélie” (2001).
…t seems Amélie , the biggest international hit in the history of French cinema, is going to be responsible for some damage to the French film industry as other filmmakers make transparent attempts to ride the coattails of its winsome success.
Yann Samuell�s film starts with a sweetness reminiscent of another French romance that made it big in the States, Amélie.
The picture is the equivalent of a little boy eating a worm to impress the little girl he has a crush on: a tireless series of schoolyard transgressions portrayed in the whip-pan jack-in-the-box way of Jean-Pierre Jeunet's Amélie that shares with that film a strong thread of misanthropic mischief, but reveals itself the classless poseur in its constant keening for attention.
First off, it dares you not to compare it to Jean-Pierre Jeunet's breakout French hit "Amelie"--an impossibility given their similarities.
Writer-director Yann Samuell's feature debut takes the cartoon whimsy of Amélie and turns it on its ear, creating a dark, unpredictable love story that can either be viewed as tragic, idiotic or soulfully romantic, depending on whether you really believe love makes the world go around.
Yann Samuell, the writer-director of ''Love Me if You Dare,'' has shot the entire film in a candy-colored frenetic style that suggests ''Amélie'' restaged as a domestic demolition derby.
Thirty-three years after his “Alien” introduced moviegoers to the terrors of extra-terrestrial life and the horrors of being named “Sigourney,” and 15 years after “Alien: Resurrection” basically ended the franchise (we do not speak of the two “Alien vs. Predator” movies), Ridley Scott returns to outer space with “Prometheus,” a visually arresting but thematically drab sci-fi thriller that’s set in the same fictional universe.
Scott left the sequels to other now-famous filmmakers: James Cameron directed Aliens in 1986, David Fincher did Alien3 in 1992, and Jean-Pierre Jeunet capped off the series (until now) with Alien: Resurrection in 1997.
Alien 3 was a botch job, and Alien: Resurrection was fun but inconsequential.
We did that on a ship in “Alien,” with marines in a space colony in “Aliens,” on a prison planet in “Alien 3” and on a ship again in “Alien: Resurrection.”
Watching Prometheus and then thinking about its predecessors in the Alien quadrilogy (a clumsy term I believe invented for 1997’s Alien: Resurrection), one cannot but recognize the story’s elemental limitations.
Given the state of the Alien franchise (after the underwhelming Alien vs. Predator installments, as well as Alien: Resurrection), it’s no wonder that 20th Century Fox is interested in attracting both the casual moviegoer as well as the die-hard xenomorph faithful.
The Brand New Testament (2015)
Directed by Jaco Van Dormael
influenced by Amélie (2001)
Visuals Themes
Van Dormael tiene algunos momentos inspirados dentro de la película, pero su pretensión de subversión e iconoclasta esta mucho más cercana a una burda melosidad jeunetiana (Amelie, 2001) que la elegancia y aguda sobriedad de la brillante La Voiee Lacteé (1969).
If you were to take the charm and playful visual language of Jean-Pierre Jenuet’s Amelie and pair it with a blistering satire of religious dogma, the end result would look something like The Brand New Testament, a new film from Belgian director Jaco Van Dormael.
La nefastez divina demuestra que la desatada fantasía burlesco-poética de Van Dormael, tal como antes lo hizo sobre la reivindicación de los perturbados a perpetuidad de Toto el héroe y de los incapacitados de El octavo día, delira ahora en definitiva y de a huevo sobre el tema de las vidas posibles, ya no referidas a un personaje plural (el decadente centenario del amor loco inextinguible Mr. Nobody), pero siempre lastradas y hechas posibles para poblar el mini-macrocosmos jocosamente gratuito de una deliciosa minipelícula cómica sobre el castigo postrero vuelto del revés y mal ensamblado que se desvía durante casi dos horas hacia una arbitraria macropelícula etérea sobre la recolección de seis nuevos improbables apóstoles lunáticos que se le escaparon a la Biblia, seis de seis, cada uno merecedor de su propio Evangelio según Fulana o Zutano, añadiéndose por turno al cuadro La última cena de Da Vinci que orna el comedor de Dios, a saber: la linda solitaria manca y generosa sexual Aurélie…
There’s so much comic and philosophical potential to be explored in the idea of a world free from the shackles of religion and from fear of death, but Van Dormael opts instead for trite epiphanies and sub-Amélie whimsy, with a dismally regressive view of male and female characteristics being laid bare throughout the film’s increasingly tiresome episodes.
Without it there would have been no Amélie, no mystical-plastic-bag scene in American Beauty, and countless whimsical commercials and music videos would have had to steal from elsewhere.
It's quite sweet and gentle and tries at times to be profound, as if the crew has been shown Amelie on a loop.
An American in Paris (1951)
Directed by Vincente Minnelli
influenced Amélie (2001)
Characters Visuals
Some viewers have compared her to Audrey Hepburn, but Tautou's Amelie is more like a slightly naughty, less inhibited descendant of the characters Leslie Caron played in "An American in Paris" and "Lili."
Of course this is not a realistic modern Paris, and some critics have sniffed about that, too: It is clean, orderly, safe, colorful, has no social problems, and is peopled entirely by citizens who look like extras from " An American in Paris ."
Other films such as Jean-Pierre Jeunet’s A Very Long Engagement and Steven Spielberg’s Saving Private Ryan have done better jobs at bringing home the cost that war takes, particularly on the civilian population.
Well, Jean-Pierre Jeunet took a stab at the war to end all wars back in 2004 with A Very Long Engagement , but the conflagration, which saw more than 40 million dead or wounded, just isn’t oft-depicted in film as its later cousin.
From time to time, memories surface of other films that involve life in the trenches or long journeys through perilous, death-strewn landscapes — Paths of Glory , most of all, but also Saving Private Ryan , Full Metal Jacket , A Very Long Engagement , Come and See — even if aesthetically it bears the most resemblance to the simulated continuous take style of Birdman .
Basically, if you’ve seen those two seminal Second World War movies from 1998, plus A Very Long Engagement , Atonement and Joyeux Noël to name but a few referents – then you’ve seen this.
This Beautiful Fantastic (2016)
Directed by Simon Aboud
influenced by Amélie (2001)
Characters Plot Themes
Downton Abbey 's Jessica Brown Findlay, who also adds some spunk to the England is Mine supporting cast, plays Bella, an orphan raised by nuns who has such a complete list of delightful quirks that she must have a severe case of Amelie .
It’s basically an English remake of Jean-Pierre Jeunet’s 2001 French-language box-office hit “Amélie.”
This Beautiful Fantastic, much like 2001’s Amélie, is gossamer.
Though it has been compared to Amelie, the movie has a leaner sensibility, never lapsing into froufrou.
Likewise, there's a fantastical Amelie -esque element which sort of just evaporates as the story focuses on more down-to-earth, depressingly familiar dramatic beats.
Some viewers have compared her to Audrey Hepburn, but Tautou's Amelie is more like a slightly naughty, less inhibited descendant of the characters Leslie Caron played in "An American in Paris" and "Lili."
A field day for schoolgirl fetishists and fanboys with a penchant for steampunk (but with Snyder's leaden dialogue, you've got to call it steamclunk), this staggering failure borrows from Baz Luhrmann's Moulin Rouge, Marc Caro and Jean-Pierre Jeunet's The City of Lost Children, Quentin Tarantino's Kill Bill, and a variety of psych-ward melodramas from The Snake Pit to The Uninvited.
And Pig Sty Alley looks like something out of Jeunet and Caro, including a swinging pig sign lifted straight from the credits of Delicatessen.
Brazil (1985)
Directed by Terry Gilliam
influenced The City of Lost Children (1995), Delicatessen (1991)
Visuals Themes
"City's" domain is one of those movie retro-worlds where the future seems to be degenerating back into primitivism, as in "Brazil" or the "Mad Max" series.
I had the same reaction to Gilliam's Brazil, which one can imagine hanging like a mad, coiled mobile over the filmmakers' heads: a Duct-Coil of Damocles, a singular inspiration that, in being so openly echoed, seems more than ever like a dead end or a sui generis object.
In that sense, the film is a blend of “Pinocchio” and “Oliver Twist” as written by Roald Dahl, bearing the style of “Brazil” as directed by David Lynch.
A punky, futuristic effort by Jean-Pierre Jeunet and Marc Caro, it is a tasteless variation on "Sweeney Todd" set geographically near the border of Terry Gilliam's "Brazil."
This is the type of movie I can imagine the director of Brazil and 12 Monkeys being very jealous of.
But Delicatessen, in addition to suffering from the same preening preciousness that made Amelie ultimately forgettable, also overdoses on its cartoonishly oppressive surroundings�a rapist mailman, food-snatching neighbors�all too repetitive of Terry Gilliam's Brazil and far less meaningful.
The movie has echoes of Carne and Prevert’s dada comedy “Bizarre, Bizarre,” and the delights of Rene Clair, like the musical “Le Million.”
"Amelie" wafts us back to the fairytale France that once seduced international moviegoers in the days of "Le Million," "The Red Balloon" "Mon Oncle," but it also shows all the things -- some sexual, some political -- that now grace the screen since those more innocent days.
Director David Yates and "Amelie" cinematographer Bruno Delbonnel brilliantly evoke the magical world, narrow, constricting spaces emphasizing the dire circumstances and adult awareness closing in on the characters.
But cinematographer Bruno Delbonnel, who photographed Jean-Pierre Jeunet's "Amélie" and "A Very Long Engagement," adds an otherworldly sheen to an overcast world that is drained of life and color until all the floating candlesticks are extinguished.
The film looks fantastic, with gorgeous eye candy throughout provided by cinematographer Bruno Delbonnel ("Across the Universe," "A Very Long Engagement" and "Amelie").
He has created another fantastic looking film with a distinct look from its predecessors thanks to the gorgeous cinematography of Bruno Delbanel (“Amelie”) while Nicholas Hooper’s score continues to make one forget all about John Williams.
* Alphaville (1965) -- The gleaming and austere concrete-and-glass city of Jean-Luc Godard's techno-dystopia was in fact Paris, even if the Arc de Triomphe is nowhere to be found.
It’s extraordinarily oblique and dense and pretentious, much closer to offform Antonionni than the “Wizard of Oz.” Michael H. Price/Fort Worth StarTelegram: Charles Dickens meets Tod Browning’s “Freaks” in a splendid new film called “The City of Lost Children,” a phantasmagoria of such impossible architecture, implausible misadventures and dreamlike poignance that no one who sees it can come away unaffected.
In a way Amelie is like Holly Golightly from Breakfast at Tiffany’s (and in fact, Toutou looks like Audrey Hepburn in the occasional shot).
She has the same natural beauty and infectious smile that carried "Roman Holiday" and "Breakfast at Tiffany's" among others.
A romantic comedy that stubbornly refuses to play by the rules, "Amelie" could be this generation's "Breakfast at Tiffany's."
Dark City (1998)
Directed by Alex Proyas
influenced by The City of Lost Children (1995)
Visuals Themes
More glaring than plot faults, though, is the obvious theft of imagery from the films of German director Fritz Lang, as well as some nods to "Brazil" and the French fantasy "The City of Lost Children," all of which are superior to this muddled mess.
Line up the other recent candidates, which include Tim Burton's Batman, Ridley Scott's Blade Runner , Jean-Pierre Jeunet and Marc Caro's Delicatessan and The City of Lost Children , and Terry Gilliam's Brazil , and Dark City equals or bests them all.
The ending, which pushes the robot/man suspension-of-disbelief aspect into the stratosphere, is nevertheless a heart-warmer and itself vaguely reminiscent of a peculiar plot point in director Jean-Pierre Jeunet's charming Amélie , another title in what might be termed the silly but soaring mystical movie canon, albeit without Amélie ’s dazzling soundtrack.