amelie family movie review

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Common Sense Media Review

By Nell Minow , based on child development research. How do we rate?

Thoughtful, charming, whimsical film has mature moments.

Parents Need to Know

Parents need to know that while Amélie is like a fairy tale, there are some graphic moments. One character works in a porn shop, and we see him surrounded by sex toys. There are comic but explicit sexual situations. There is a reference to suicide, and a child's mother is killed in an accident.

Why Age 16+?

Character works in porn shop. Comic sexual situations -- explicit, but only brie

Drinking and smoking

Some sexual references.

Any Positive Content?

Shows how random acts of kindness and generosity can be truly rewarding. Major t

Amelie quietly encourages her reclusive father to go out and see the world. She

Sex, Romance & Nudity

Character works in porn shop. Comic sexual situations -- explicit, but only brief glimpses of bare-breasted characters having orgasms.

Did you know you can flag iffy content? Adjust limits for Sex, Romance & Nudity in your kid's entertainment guide.

Drinking, Drugs & Smoking

Did you know you can flag iffy content? Adjust limits for Drinking, Drugs & Smoking in your kid's entertainment guide.

Did you know you can flag iffy content? Adjust limits for Language in your kid's entertainment guide.

Positive Messages

Shows how random acts of kindness and generosity can be truly rewarding. Major themes include compassion, empathy, curiosity, and gratitude.

Positive Role Models

Amelie quietly encourages her reclusive father to go out and see the world. She needs a big push, however, to come out from behind her disguises and ruses to finally get the guy.

Parents need to know that while Amélie is like a fairy tale, there are some graphic moments. One character works in a porn shop, and we see him surrounded by sex toys. There are comic but explicit sexual situations. There is a reference to suicide, and a child's mother is killed in an accident. To stay in the loop on more movies like this, you can sign up for weekly Family Movie Night emails .

Where to Watch

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Parent and Kid Reviews

• Parents say (13)
• Kids say (25)

Based on 13 parent reviews

A sweet, good-hearted, magical film. Don't be scared by the quick montage of ...s-e-x.

A film that teens should be able to watch, what's the story.

AMELIE ( Audrey Tatou ) grows up the lonely child of parents who do not know how to show their love for her. She becomes a thoughtful, quiet, observant girl who decides to change the lives of those around her, opening hearts to the adventure that is waiting for them, taking revenge on a cruel grocer, bringing together a couple who are afraid to show their longing for each other, and bringing the outside world to a reclusive painter and to her own father. But will she do for herself what she has done for others and find love with the mysterious collector of rejected photo booth pictures? And who is the "ghost" who appears in so many of the torn photos?

Is It Any Good?

This film is filled with airy whimsical charm the way that a chocolate soufflé is filled with air. Audrey Tatou is just right as Amélie , a perfect gamine in a Lulu haircut. Writer-director Jean-Pierre Jeunet gives the story a feeling somewhere between fairy tale and documentary. His behind-the-scenes glimpses of the characters' likes and dislikes – from cleaning out a toolbox and getting fingers pruny in the bath to sticking a hand in a barrel of grain and cracking the sugar on a crème brulée -- are deliciously particular and somehow very touching.

Talk to Your Kids About ...

Families can talk about why Amélie wants to help people from a distance and is reluctant to show herself to the man who attracts her.

Why do so many people need outside help to find happiness? Is there someone you would like to help?

How does Amélie demonstrate compassion and empathy ? What about curiosity and gratitude ? Why are these important character strengths ?

Movie Details

• In theaters : November 2, 2001
• On DVD or streaming : December 1, 2002
• Cast : Audrey Tautou , Lorella Cravotta , Mathieu Kassovitz
• Director : Jean-Pierre Jeunet
• Studio : Miramax
• Genre : Comedy
• Character Strengths : Compassion , Curiosity , Empathy , Gratitude
• Run time : 122 minutes
• MPAA rating : R
• MPAA explanation : comic sexuality
• Last updated : August 4, 2024

Did we miss something on diversity?

Research shows a connection between kids' healthy self-esteem and positive portrayals in media. That's why we've added a new "Diverse Representations" section to our reviews that will be rolling out on an ongoing basis. You can help us help kids by suggesting a diversity update.

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Amélie (2001): Why Does Everyone Love This Movie So Much?

Amélie (2001) is about an innocent and naive girl in Paris with her own sense of justice. She decides to help those around her and, along the way, discovers love.

This French film, directed by Jean-Pierre Jeunet, is about a young girl, Amélie. After doing a good deed, Amélie makes it a mission of her life to provide happiness to those around her. On this selfless journey, she finds love when she least expects it.

Amélie is one of the most widely-known French films throughout the world. The movie has been nominated for and won many awards . In other movie news  Amélie was also featured in The New York Times’ Best 1000 Movies Ever Made article.

My favourite part of the movie was the beautiful Audrey Tautou who played the titular character of Amélie. Tautou is probably the only actress who could have pulled this role off as well as she did. From her captivating facial expressions to her bob hairstyle, nobody can imagine Amélie without Tautou.

The movie has a very unique plot, with some equally unique and quirky characters. The main character, Amélie, likes to collect pebbles from the road and sink her fingers in sack of grains. Her love interest likes to collect discarded photographs of strangers from photo booths. There is also an old man who paints the same Renoir painting every year. These quirks, with addition to Amélie’s overactive imagination, makes the whole plot eccentric in a very amusing manner.

André Dussollier gives a heart-warming narration to the plot. The way he described each and every character in detail completely absorbed me.

“Times are hard for dreamers.”

One of my favourite scenes from the movie was the ending scene when Amélie finally meets her love interest after a two-hour long wait. The build up was so intense that I couldn’t help but squeal during their iconic kiss.

Visually speaking, this film is an inspiration for every filmmaker. The colour palette includes shades of green, red and yellow. The lighting and hues remain consistent throughout the movie, making the cinematography very aesthetic. This also highlights the emotions of Amélie, who is lonely yet searches for happiness in the smallest of things.

This movie has a very innocent storyline and is perfectly fit for children. However, it still has an R-rating due to a quick sexual montage and another small scene featuring nudity. While the scenes are not very graphic, some people might not prefer watching this film with kids below the age of fourteen.

The Verdict:

Amélie had been in my watchlist since eternity. I had heard so much praise about this film and I only regret not watching it earlier. The creativity of the plot and characters is one of my favourite aspects of this film. This is the kind of movie which you can watch with your friends or your family. Be it on a sleepover, movie night, or simply a weekend, Amélie is a perfect pick for all moods.

DIRECTOR: Jean-Pierre Jeunet WRITERS:  Guillaume Laurant, Jean-Pierre Jeunet CINEMATOGRAPHY: Bruno Delbonnel STARRING: Audrey Tautou, Mathieu Kassovitz, Rufus, Lorella Cravotta, Serge Merlin, Jamel Debbouze

• Acting - 9.6/10 9.6/10
• Cinematography - 9.6/10 9.6/10
• Plot/Screenplay - 9/10 9/10
• Setting/Theme - 8.5/10 8.5/10
• Buyability - 8.5/10 8.5/10
• Recyclability - 7.5/10 7.5/10

User Review

About soumya jain.

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Amélie (2001)

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Amelie (France, 2001)

Years ago, while watching Delicatessen (in 1992) and The City of Lost Children (in 1995), I wondered which of the co-directors, Jean-Pierre Jeunet or Marc Caro, was more responsible for the films' quirky tone and striking visual style. Although Caro hasn't made a film since The City of Lost Children , Jeunet has continued in the business, accepting the Hollywood offer to helm Alien: Resurrection , then returning to his native France to direct Amelie . With the release of this movie, which has won critical accolades across the world, become one of the most popular home-grown films of all time in France, and captured the audience award at the 2001 Toronto International Film Festival, I have learned the answer to my question. Amelie makes it clear that the primary creative force behind the earlier films' stylistic uniqueness was Jeunet.

Like Tom Tykwer's Run Lola Run , Amelie is energized by instances of fast-cutting and unexpected inserts. We learn more about secondary characters than we need to know (a tongue-in-cheek voiceover, for example, lists their "likes" and "dislikes"), and are the richer for the experience. Amelie works not just because it tells an interesting story about an affable character, but because it does so in an involving and energetic manner that incorporates the right amount of comedy into the overall mixture. This motion picture proves that two hours can pass very quickly in a movie theater if what's being projected on screen truly deserves its running time.

Amelie is about Amelie Poulain (Audrey Tatou), a young woman who has spent most of her life existing in the background. As a child, she was discouraged from having friends by her neurotic mother and emotionally distant father. As an adult, she works as a waitress in a café and spends her nights alone in her small apartment. She has no boyfriend, no confidantes, and no real sense of purpose in life. But all that is about to change. One small event - the discovery of a box of old snapshots and toys in a hidden compartment in her apartment - causes her to take action. She sets out to find the owner of the box, and her quest eventually leads him to reconcile with his son. Emboldened by her success, Amelie decides to become a force for good in her small corner of the world, helping others around her. In the process, she encounters Nino Quincampoix (Mathieu Kassovitz), who may be her soulmate - if she can ever find the courage to talk to him face-to-face and admit her feelings for him.

Amelie is a wonderfully uplifting motion picture that features a sparkling performance by Audrey Tautou in the lead role. Tautou brings Amelie to life with a delightful mix of shyness, energy, and mischievousness. It doesn't take long for Tautou to win our sympathy, and, once gained, it's something she never loses. It isn't difficult to understand why this movie has been such a success with audiences around the world - it's the kind of motion picture that's both intelligent and immensely likable - just like the main character.

Mathieu Kassovitz (the director of Hate ) makes Nino an effective match for Amelie. Kassovitz underplays the part perfectly, showing that Nino, like Amelie, is used to being in the background, not the foreground. Also like Amelie, Nino is shy about their relationship, but he is determined to pursue it. Since she never approaches him directly, but is content to leave him clues and anonymous messages, he is forced into the role of detective and pursuer, and Kassovitz displays the gradual strengthening of Nino's confidence and personality as events mature. Other supporting performers include Rufus (as Amelie's father), Jeunet regular Dominique Pinon as a disgruntled customer at the café where Amelie works, and Serge Merlin as Amelie's painter neighbor, who gives her advice on life and love.

One of the most intriguing aspects of the film, aside from its visual vivaciousness, is the manner in which Amelie chooses to help others. Rather than going about things in a straightforward manner, she devises stratagems, the complexities of which are analogous to the workings of a Rube Goldberg project. Her father has a hidden desire to travel, so, in order to bring his interest to the surface, Amelie kidnaps his garden gnome and has it photographed in front of various geographical landmarks around the world. For a neighbor who cherishes old love letters from her dead husband, Amelie fakes one that was "recently found". And so on... Throughout this movie, Jeunet keeps us guessing whom Amelie will help next, and how she will choose to do so.

Voyerism is also a theme. Characters in this movie spend a lot of time watching. Amelie studies others before taking action. Nino keeps a scrap book of torn snapshots. And Amelie's painter neighbor, the "Glass Man", has not left his apartment for 20 years. He remains inside, gazing out his window when he isn't copying a painting of Renoir's. In fact, the Glass Man's choice to venerate Renoir adds another layer to the theme, since the artist was once referred to as a "professional voyeur" who spent much time observing his subjects to understand them before committing their images to the canvas.

Like Delicatessen and The City of Lost Children, Amelie uses odd camera angles, quick edits, and other "tricks" to keep the movie visually dynamic. Recognizing that it's easy for an audience to become bored by the repeated use of familiar shots, Jeunet varies our diet without going so far overboard that it negatively impacts the viewing experienced. His approach proves to be stimulating and invigorating. Since this is a lighthearted drama (with occasional detours into absurd comedy), not a science fiction excursion, there aren't as many excesses as in the previous movies, but anyone familiar with Jeunet's previous work will immediately recognize the style. By shooting all around Paris, Jeunet uses the city as more of a character than a mere backdrop, although the director's surreal and timeless vision should not be confused with the place seen by tourists (or even ordinary citizens). This is Jeunet's city, where magic abounds in the strangest places, where fate and predestination lurk around every corner, where photographs talk, and where one sprightly young woman can orchestrate small miracles. Amelie 's golden touch will even extend to Miramax Films - by releasing this movie in North America, the distributor will restore some of the sheen to an image tarnished by its recent, frequent embracing of subpar material.

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Amélie Reviews

Snapshot of an idealized version of [Montmartre]... fate, joy, momentary despair and still more joy. It’s filled with lists of likes and dislikes and Jeunet’s restless need to entertain makes <i>Amélie</i> a list in itself.

Full Review | Original Score: 9/10 | Jul 4, 2024

Life is hard, but it can be quite beautiful too. And that's especially the case if you use some of it to watch Amélie.

Full Review | Apr 27, 2024

An enchanting, quirky comedy that, like its central character, marches to its own (off)beat.

Full Review | Original Score: 3.5/4 | Apr 23, 2024

Jean-Pierre Jeunet’s quirky rom-com AMÉLIE felt like a breath of fresh air when it was released two decades ago. It's just as relevant today, but for different reasons.

Full Review | Original Score: 3.5/4 | Feb 14, 2024

With the talented Audrey Tautou in the leading role, Amelie is sheer delight, and will entrance everyone who sees it.

Full Review | Original Score: 4.5/5 | Feb 13, 2024

Amelie is a delicious pastry of a movie, a lighthearted fantasy in which a winsome heroine overcomes a sad childhood and grows up to bring cheer to the needful and joy to herself. You see it, and later when you think about it, you smile.

Full Review | Original Score: 3.5/4 | Feb 13, 2024

Jeunet [turns] the whole story into a comic strip with the inventiveness of his exaggerations, the terseness of his ironies, the briskness of his editing and a voiceover commentary which would have done Roald Dahl proud.

Full Review | Feb 13, 2024

Like its title character, Amelie is a quirky, unabashedly manipulative charmer that, while endearing at first, overstays its welcome. Until the visual pyrotechnics and faux joie de vivre become too overbearing, however, [it's] a captivating confection.

Full Review | Original Score: 3/5 | Feb 13, 2024

An utterly fresh, imaginative and emotional piece of filmmaking that s touched by enough sheer magic to lift the spirits of even the most hardened cynic.

Full Review | Original Score: 4/4 | Feb 13, 2024

If I ever wanted to run into a projectionist's booth and hug a canister of film, it was after I saw Amelie for the first time.

Full Review | Original Score: 5/5 | Feb 13, 2024

Amélie is the romantic comedy adults have been waiting for. Maybe the one they need.

[Mathieu Kassovitz] provides Amelie with the highly unlikely love interest who gives this hyperactive charmer its undeniable fairy-tale element.

Full Review | Original Score: A- | Feb 13, 2024

Jean-Pierre Jeunet's film was all the rage in Paris and shunned by the Cannes Film Festival, where elitist selection committee members deemed it too lightweight for inclusion. Sometimes those elitist types know what there talking about.

Full Review | Original Score: C | Feb 13, 2024

Through all our isolation and division, we are united by love. If it takes an uplifting fantasy to state this idea, however whimsically and indirectly, then so much the better. Of course it's not real... What good's a fairy tale without a moral, anyway?

It is the feel-good escapist film that most of us need right now, but with a frequent twist of tartness and a cinematic giddiness that intoxicates.

Amélie is the happy ending to a year that most of us would just as soon forget. This is a film to remind us of the urgent importance of frivolity.

An out-of-practically-nowhere hit in France, Jean-Pierre Jeunet's sweet magic fable is specifically designed to restore our blasted faith in human decency.

Although it's too long for a film so slight, it transports us to a Paris that's as irresistible as it is unreal.

It’s a lighter-than-air French pastry of a film that will have you begging for more.

It's a delirious funhouse of a movie that's an unrepentant crowd pleaser, and one that French tourism officials probably welcomed with open arms.

Full Review | Original Score: 3/4 | Feb 13, 2024

amélie review

film by Jean-Pierre Jeunet (2001)

Amelie is a sybaritic wonder of cinematic whimsy, giving us the unique pleasure of savoring a sweet we wish were infinite and would never end. It is an anachronistic microcosm that celebrates the idiosyncrasies of the forgotten and the discarded, romanticizing the unheard voices of those who march to a different beat. These are people never compelled by conventionality, who live outside the realm and limitations of the status quo and tribal consensus of the masses. 

Review by Aaron Jones | Jul 05, 2024

We are frequently invited to reflect upon what makes us human, not letting life pass us by through our fear and not letting our nostalgia for the past sink us while we hide away from the rest of the world.

Within the film is a tale of longing that retrospectively reveals some of the building blocks that shape Amelie and gain our affection for her. Through scattered glimpses of the solemn child she became due to tragedy and neglect, we witness how she finds her way out through her prolific imagination, which serves as a protective sphere and distraction from reality. This imagination elicits her unique talent and becomes one of the thematic centerpieces of the film, rousing her fellow Parisians who experience loneliness or longing and bringing them together by instilling a sense of wonder or curiosity within them. She provides them with a different lens through which to see the world.

Amelie’s mission of bringing joy to the weary occupies that special place alongside life’s simple pleasures, achieved through the pursuit of others’ happiness. This mission becomes Amelie’s philosophy and the film’s as well, treating every misfortune or mishap of those in need of her medicine as a new segment of an incomplete fairy tale. She rejuvenates her targets, leading them into a medley of indelible rapture. Her spontaneous and impassioned personality is an invariable component of the film that infuses itself into every character and scenario. Through that playfulness, it becomes intrinsic to the film. We begin to see Amelie not only as the free spirit she is but also as the glue upon which the foundation for her microcosm is built. Harmoniously galvanizing everything she focuses on into personal growth and empowerment, she uses clandestine machinations for those she favors and a gremlin-esque approach to those who revel in oppressing the unfortunate.

Amelie’s appearance may resemble a ripple from the vestiges of Cinema du Look , but its themes are inherently more playful in tone. It incorporates styles and tones that are usually repellent within French cinema, marking a departure from the norm. Jean-Pierre Jeunet’s unusual blend of poetic romanticism is aesthetically unique, and his meticulous devotion to detail is the central component of his signature style. Amelie feels like an intimate valentine to the Nouvelle Vague , executed in a way that creates the characters’ own spontaneity on screen.

Jeunet’s unique cinematic style is a constantly evolving crescendo of subliminally subversive and tangential cyclic setups composing playful and inventive surrealism. The technical execution is enigmatic and suggests an exhaustive process in accordance with detail and the auteurist vision that only delivers through a labor of love and perseverance. The cinematography glimmers with warmth and antiquity through its welcoming use of color. It often gives the feeling of living in a Mucha painting , evoking a mnemonic recalling that I could never quite put my finger on.

With its quintessential French style and accordion soundtrack, coupled with its imaginative and exaggerated styles and forms, it is an inviting and rewarding work of cinematic indulgence that makes one think of magical worlds we often imagine and venture into in childhood, hidden away from reality and our distracted lives. It is a valentine to the French New Wave , an ode to the joys of life, and the eccentric outsiders who make the world a more curious and magical place to inhabit.

Amelie cherishes the pursuits of kindness and the rejuvenating effect of caring for those who have been beaten down by life, giving them a purpose. It is a cinematic experience that leaves you with the conviction that if enough of us embraced such a philosophy, the world might shed a little of its darkness and bring much-needed light into the mirthless corners of loneliness.

Reviewed and published by Aaron Jones . Based in California, he developed a passion for film from a young age and has since viewed over 10,000 films. Curently serves as a film critic at CinemaWaves, he has contributed to other publications as well. Feel free to follow him on Instagram and Letterboxd .

Take a look at more film reviews here on our website. Explore a variety of films that can help you decide your next movie pick.

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Rediscovering the Magic of Amélie: A Timeless French Classic

If there’s one thing that French cinema is known for, it’s their ability to tell heartwarming stories that leave a lasting impression on the viewers. One such movie that has undoubtedly made a mark in the history of French films is “Amélie.” This timeless classic has captured the hearts of audiences worldwide with its whimsical plot, stunning cinematography, and unforgettable characters. In this Amélie movie review, we will dive deeper into the magic and enchantment of this film, and why it’s a must-watch for anyone who loves French cinema.

If there’s one thing that French cinema is known for, it’s their ability to tell heartwarming stories that leave a lasting impression on the viewers. One such movie that has undoubtedly made a mark in the history of French films is “Amélie.” This timeless classic has captured the hearts of audiences worldwide with its whimsical plot, stunning cinematography, and unforgettable characters. In this Amélie movie review, we will dive deeper into the magic and enchantment of this film, and why it’s a must-watch for anyone who loves French cinema.

Introduction to the film

Welcome to my review of the critically acclaimed French film, “Amélie”. Released in 2001, this whimsical romantic comedy tells the story of a shy and quirky waitress named Amélie who sets out on a mission to spread joy and kindness to the people around her. With a stunning performance by Audrey Tautou in the lead role and beautiful cinematography that captures the charm of Paris , “Amélie” has become a beloved classic in the world of cinema. In this article, I will delve deeper into the film’s plot, characters, and themes and share my personal thoughts on this delightful piece of cinema. So grab some popcorn and settle in for a magical journey through the streets of Paris with Amélie.

Plot summary

In this cinema, movies and actors blog, we are excited to present our Amélie movie review. The French movie, directed by Jean-Pierre Jeunet , follows the story of a whimsical and innocent young woman named Amélie. After discovering a hidden box of childhood treasures, she is inspired to make a positive impact on the lives of those around her. Along the way, she finds love and learns important life lessons. The film is filled with charming and quirky characters, beautiful cinematography, and a delightful soundtrack. This movie is a must-see for anyone who enjoys heartwarming and uplifting stories.

Main characters introduction

Let’s start our “Amélie movie review” by introducing the main character of the film. Amélie Poulain is a charming and quirky young woman who lives in Paris . She has an imaginative mind and an unusual way of seeing the world around her. Played by Audrey Tautou , Amélie’s character is brought to life with her expressive eyes, mischievous smile, and adorable French accent. Along with Amélie, we’ll also meet a group of eccentric characters that add depth and humor to the story. From the reclusive painter to the hypochondriac grocer, each character has a unique story to tell, making “Amélie” a true gem in the world of cinema.

Setting and atmosphere

The setting and atmosphere of the French film “Amélie” is whimsical and charming, perfectly in sync with the movie’s fantastical storyline. The film is set in the picturesque Montmartre neighborhood of Paris , which provides a picturesque backdrop to the story. The vibrant colors and quirky characters create a unique atmosphere that draws the audience into Amélie’s world. The use of vibrant cinematography and fun, playful music complements the setting and creates a truly immersive experience for the viewers. Overall, the setting and atmosphere of “Amélie” play a vital role in making it a beloved and unforgettable movie.

Cinematography and soundtrack

One of the most remarkable aspects of the movie “Amélie” is its superb cinematography and soundtrack. The vibrant and colorful visuals, combined with the whimsical and playful music, create an immersive atmosphere that perfectly captures the quirky and charming nature of the film’s protagonist, Amélie. The camera work is also impressive, with imaginative shots and camera movements that add to the overall cinematic experience. The soundtrack, composed by Yann Tiersen, is an eclectic mix of instruments and styles that perfectly complements the film’s Parisian setting and its themes of love, imagination, and destiny. Overall, the cinematography and soundtrack make “Amélie” a true cinematic masterpiece that is not to be missed.

Themes and messages

The movie “Amélie” is a perfect example of how a film can convey multiple themes and messages to its audience. It tells the story of a young woman who decides to change the lives of people around her by performing small acts of kindness. The movie explores themes such as the importance of human connection, the power of imagination, and the beauty of life’s simple pleasures. Additionally, it sends a message of hope and optimism, encouraging viewers to look for the magic in everyday life. These themes and messages are conveyed through the film’s visually stunning imagery, quirky humor, and charming performances, making “Amélie” a must-watch for any cinema, movies, and actors enthusiast.

Acting performances

When it comes to acting performances, Audrey Tautou ‘s portrayal of the quirky and whimsical Amélie in the eponymous film is nothing short of outstanding. Her nuanced performance brings to life the character’s childlike wonder and determination to make the world a better place, while also showcasing her vulnerability and fears. Tautou’s acting is complemented by a talented supporting cast, all of whom bring their A-game to the table. It’s no wonder that Amélie is considered a classic film, with its memorable performances being one of its standout features.

Reception and critical acclaim

Upon its release in 2001, “Amélie” was met with widespread critical acclaim and a warm reception from audiences worldwide. The film, directed by Jean-Pierre Jeunet , received numerous accolades including four Academy Award nominations and a Best Film Award at the European Film Awards. Audrey Tautou’s performance as the charming and whimsical Amélie Poulain was widely praised, and the film’s unique and imaginative visual style garnered much attention. With its captivating storyline, beautiful cinematography, and delightful score, “Amélie” has cemented its place as a beloved classic in the world of cinema.

Legacy and impact

Amélie, directed by Jean-Pierre Jeunet , is a masterpiece that has left a lasting legacy in the world of cinema. This whimsical and surreal movie tells the story of a young woman named Amélie who finds joy in making others happy. The impact of this movie can still be felt today through its influence on various aspects of popular culture, including fashion, music, and art. Its unique visual style and quirky characters have captured the hearts of audiences around the world, and its message of kindness and compassion continues to inspire viewers to this day. Overall, Amélie is a timeless classic that has made a significant contribution to the world of cinema and will continue to do so for years to come.

Conclusion and personal opinion

In conclusion, Amélie is a delightful and heartwarming movie that captures the magic of Paris in a unique and whimsical way. From the stunning cinematography to the quirky characters, every aspect of the film is masterfully crafted. Audrey Tautou’s performance as the titular character is also outstanding, bringing a sense of innocence and playfulness to the role. Overall, Amélie is a must-see for anyone who loves movies that transport them to another world. If you’re looking for a charming and uplifting film that will leave you with a smile on your face, then Amélie is definitely worth checking out.

For more information about Amélie movie review, including movie details, cast information, etc.. check out the filmaffinity page .

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Amélie: An Extraordinary Girl Living In An Everyday World

A mélie  is about a shy, lonely young woman of the same name (played by Audrey Tautou) that finds she loves brightening the lives of those around her, using extraordinary and even bizarre methods to do so. Amélie, mistakenly believed to have a heart condition as a child, was raised at home by her two parents. Her neurotic mother dies while Amélie is still a child thanks to a suicidal Canadian tourist, while her father is distant, growing only more withdrawn upon his wife’s death.

Amélie is unusual. Because she was so sheltered as a child, she made up imaginary friends and circumstances, developing a fantastical and mischievous personality as a result. That personality comes in handy as an adult each time she finds ways to change the lives of those around her for the better.

This French romantic comedy truly stands out, even to this day. Upon its release in 2001, audiences everywhere were enamored with the rom-com. Strangely enough, the plot doesn’t necessarily scream surprise or complex. It’s more simplistic in nature, and usually, audiences are bored with such a concept. Amélie  isn’t a surprise, but it isn’t what you’d expect, either (especially with the creepy-looking movie poster which can be misleading). Keeping a balance between expectation and unpredictability is no easy feat, especially when the plot is facile and the characters are stereotypical, yet somehow contain a sense of unpredictability (especially where it concerns Amélie).

I always considered Amélie to be a good character. Fun, vivacious, full of life. She was waiting to be let out of the figurative cage she’d been held in most of her life. I appreciated the narrator because he offered many insights into her character and helped the audience get to know her better.

Amélie wanted to add something to the world, spread some love and happiness, and paint the black and white of the world with a wildly colorful brush. She manages to do all that and more, finding happiness not just for others but also for herself along the way, and that’s one of the many reasons why Amélie  is so treasured.

Every film comes with some criticism. People are different, hence different opinions. With a movie like Amélie,  you either love it, or you hate it. There’s no in-between.

“ Amélie is one of those films that never stops reassuring the audience that it’s on their side, taking them firmly by the hand and leading them…well, nowhere really,” writes Frédéric Bonnaud. He adds that the film abuses “in-your-face devices–like Amélie ‘s heart beating under her sweater or any number of crazy, ostentatious camera stunts.”

Granted, sometimes Amélie  can be a bit much. Whether or not people go along with the cartoon-like visuals that pop up every here and there is a matter of personal preference. I didn’t mind the visual of Amélie disappearing, melting and becoming water–it was a representation of how she felt. It resonates with me personally because sometimes, when you lose your chance, find yourself embarrassed, or something of the like, doesn’t everyone feel like melting at one point or another?

Other times, like the visual of her heart pounding in her chest, it seems unnecessary. You can tell by the look on Amélie’s face just how she feels, so the heart visual is over-the-top. It reminds me of that scene in Mary Poppins when Dick Van Dyke and Julie Andrews are dancing away with animated characters. It seemed like a touch much, not unlike Amélie’s heart.

Bonnaud also notes that “characters are heavily typed until they’re transformed into familiar figures”, like the “obnoxious merchant”, “the reclusive old painter”, etcetera. While these characters fall into their stereotypes, they each play a meaningful part of the story. They’re a representation of both fictional and real life. There are people out in the world that are a perfect example of conformity to a stereotype, be it spoiled rich girl, slacker skateboarder, dumb jock, or something along those lines. On the other hand, the characters are also a representation of how films see stereotypes, but I think Amelie found a balance in these stereotypical characters. They had just the right amount of stereotype about them without it being overly excessive, which made the inclusion of these characters like repugnant Mr. Collignon a complementary asset.

A Cinematography Observation

The scene where Amelie heads to Mr. Collignon’s mother’s house to inquire about the people that used to reside in her apartment is worth mentioning based on the cinematography alone. Amélie’s outfit matches the colors of the buildings and most of the surroundings as she walks up the street.

However, the lush green of the trees beyond the walls stand out, as does the blue Volkswagen Beetle. The Beetle was the first thing I noticed, the contrast of the blue to its surroundings so incredibly prominent I had to appreciate the scene that much more. I’m sure the Beetle’s placement is a nod to Germany, given the film was a co-production between Germany and France. I don’t know what it is about this scene, but I find it fascinating, invigorating and alluring.

Why Amélie Is So Beloved

I have two theories as to why the film has been loved since day one.

Firstly, it’s because the film depicts a young girl conducting kind acts for others out of a desire to make lives better and put some good out in the world. How many people, especially young people, would take time out of their hectic lives to help others the way Amélie does? How many take the time to notice the simple pleasures in life, like cracking crème brûlée with a spoon?

When it comes down to it, I think Amélie is a symbol of humanity at its best. She is a reminder that there are still caring and sympathetic people out in the world with good intentions. No matter where you are in the world, everyone has their days of despair when they think they’re only dealing with the worst of humanity. Amélie is a light, a symbol of hope and faith. She is a reminder that not all people are bad, hence giving audiences a good omen to believe in.

Not only that, but Amélie is also an inspiration. I don’t know about anyone else, but she makes me want to be a better person, to strive to be more like her. She gradually lets her walls down and becomes less afraid of the world, finding ways to enjoy more of it than she’s previously had the opportunity to. She makes me want to observe my surroundings with a clearer focus and to appreciate the little things like the five senses.

My second theory has to do with life itself. Gwladys Fouché notes that she loves the film because “Amélie offers a poetic and escapist vision of everyday life.” This is my favorite description of the film because it’s perfectly apt and a beautiful perspective to take away from the film.

Amélie is a waitress, living a relatively normal, everyday life. That can quickly become mundane. Amélie finds ways to create her own little thrills and surprises in life and finds true purpose and reward in helping others. When life becomes too mundane, that’s precisely what’s needed—a true purpose. You find something outside of your usual surroundings, go beyond your comfort zone and discover something new about yourself. Maybe there’s some risk, but the reward at the end is usually much greater. Meeting new people, doing new things, helping others–that’s what keeps life interesting and exciting, and it erases the mundane and allows you to spread true greatness, infusing it with the world. That possibility gives audiences hope and inspiration to change the mundane of their lives into their own little thrills.

My absolute favorite scene of the entire film is when Amélie walks with the blind man, quickly explaining to him everything she sees in vivid detail. She sounds hurried, but it’s because she’s so excited, and the man soaks everything in with wonder, fascination and a smile. She really does do him a kind service, and then just as quickly as she helped him, she’s gone, leaving him at the metro and bidding him farewell. Sharing the world with someone who cannot see or even enjoy it in the same way you can is something truly special, and one-of-a-kind.

I think that’s why Amélie is so popular. She’s one-of-a-kind. She’s relatable because she’s shy and lonely and uncertain, but she makes a choice to change all of that, and she manages to find love and happiness because of it. Being brave means doing what scares you, and Amélie overcame her fears and got back in the world when she’d been isolated from it most of her life.

Written by Kacie Lillejord

Kacie is a freelance writer versed in various forms. She loves pop culture, screenwriting, novels, and poetry. She has previously written for The Daily Wildcat, Harness Magazine, Cultured Vultures, and Screen Rant, with 25YL being her newest writing venture.

2001 Amelie Audrey Tautou Cinematography Fantastical France French german Germany Jean-Pierre Jeunet Paris Rom-Com Romantic Comedy

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I love your descriptions of the character in Amelie, one of my favorite films. 🙂

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Amelie | 2001 | R | - 8.4.3

SEX/NUDITY 8 - There are quick shots of twelve different couples having sex at the point of orgasm (we see each couple nude, exposing bare breasts, backs and shoulders and hear the sounds of climax). A man and woman have sex; the woman lies on her back motionless and the man moves rhythmically on top of her and moans. A man and woman kiss passionately in a restaurant restroom and we hear them having sex (we see their silhouette through a glass window in the door, the woman screams during orgasm, we hear rhythmic pounding against a wall and door, and the dishes in the restaurant vibrate rhythmically). A man and woman kiss each other tenderly on the face and neck, then they kiss passionately and we see their silhouette through curtains. A nude (from the shoulders to the hips) pregnant woman is shown and we see her tummy grow in a fast-frame sequence. Several scenes take place in a pornographic video store: we see some sex apparatus (some nude breasts, some penis-shaped items, videos, magazines), and we see a woman with a small costume on dancing suggestively in a room; she later removes the top and dances with bare breasts and bare buttocks. A man and woman are shown in bed apparently after having had sex; the woman is nude but we only see her shoulders and the side of her waist because the man lies on top of her (we see his bare back to the waist). A man touches a woman's cleavage. A boy peeks through a hole to watch a woman in a slip washing out her undergarments. A man and woman flirt, a man and woman make suggestive facial gestures at each other, and a man admires a woman as she walks by. A woman sits in a bathtub covered to the chest by water and bubbles. A woman is shown in a slip which exposes some cleavage, a woman wears a tight-fitting sweater exposing cleavage, and a woman wears a tube top and tight pants exposing cleavage. A scene shows sperm fertilizing an egg, and we see a baby's head at birth (it's hard to discern anything else). A man wears tight-fitting swim trunks and we see the outline of his private parts. A woman suggestively invites another woman into her apartment. Two men urinate in a bathroom; we hear the trickling. Four photographs of a man become animated and talk about having been in a woman's breast pocket. Three nude babies swim in a pool (we see their private parts).

VIOLENCE/GORE 4 - A woman jumps from the roof of a church and lands on a woman on the street killing them both (we hear the woman scream and the screen goes black when she lands). A man is shown in a couple of scenes with two guns held to his head. There are several scenes on TV of disasters and accidents (plane crashes, train derailments, car crashes, Princess Diana's fatal accident, a truck exploding when it drives over a land mine). We see a dead, stuffed dog in a woman's kitchen. A woman rides through a ghost house at a fair and there are lots of ghoulish looking creatures and a man dressed in a skeleton suit touches her face. A man chases another man, jumps on a moped and drives recklessly almost getting hit by an oncoming car. Two men shove each other and argue, a boy is bullied and stuffed in a garbage can, a man pulls on a boy's ear, and a man slaps a young man on the back of the head. We see a funeral on TV. We see the image of a woman's heart beating through her shirt. A goldfish jumps out of its tank and a little girl screams (there is talk of it having committed suicide); it is rescued and then taken to a stream where it is released. A man yells in frustration and hits his TV set, a man and woman argue briefly, and a woman yells at a man. There is talk of a young girl's mother being dead and we see her father making a shrine with the urn containing her ashes. A woman talks about her husband having been killed in a car accident. A woman melts into a puddle of water and splashes onto the floor. Three men carry a coffin presumably with a body in it. A woman talks about a horse having fallen on her leg injuring her. A woman breaks into a man's apartment and sabotages things (changes the alarm clock time, exchanges foot cream for toothpaste, puts sugar in a bottle of alcohol, changes his slippers for a different size, etc.). A man plugs in a lamp, sparks fly from the cord and he yells. A young man is missing an arm (we see his empty sleeve dangling by his side). A woman spills hot tea on a woman's lap and the woman yells, a man runs into a couple as he races by them.

LANGUAGE 3 - 2 scatological terms, 3 sexual references, 3 anatomical references, 2 mild obscenities, 13 insults.

DISCUSSION TOPICS - Love, happiness, estranged parents, jealousy, obsession, solitude, infidelity, embezzlement, do-gooders, being unloved, fear of being forgotten, outcasts.

MESSAGE - We all deserve happiness, it's just a matter of figuring out how to go about getting it.

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Amelie Reviews

• 69   Metascore
• 2 hr 0 mins
• Drama, Comedy
• Watchlist Where to Watch

Nominated for five Oscars, this delightful French comedy employs imaginative cinematic tricks to tell the story of a painfully shy Parisian waitress (Audrey Tautou) who secretly does good deeds for others, yet is afraid to accept love in her own life. Mathieu Kassovitz, Rufus, Yolande Moreau.

An eccentric wallflower finds her soul mate in Jean-Pierre Jeunet's aggressively sunny romance, which was a huge hit in its native France. Amelie Poulain (Flora Guiet) was destined to be a lonely dreamer: Her overprotective parents isolated her from the world, her neurotic mother (Lorella Cravotta) was killed in a bizarre accident and even her beloved goldfish was suicidal, repeatedly leaping from its bowl. As a shy young woman, the gamine Amelie (Audrey Tautou) lives in the funky Paris neighborhood of Montmartre and waits tables at the cafe Les Deux Moulins. Disappointed by her first forays into the world of dating, Amelie devotes herself to cultivating life's small pleasures — skipping stones on the Canal Saint Martin, cracking the glaze on a creme caramel, observing inconsequential details in the background of old movies — and waits for her purpose in life to be revealed. Her destiny announces itself in the form of a decades-old tin box filled with children's toys, which she finds behind a wall in her apartment. Amelie resolves to locate the owner and anonymously return the childhood treasures, and when that mission goes well she starts meddling in the lives of her coworkers, family and neighbors. Amelie launches a whimsical plan to persuade her father (Rufus) to resurrect his dormant dream of traveling (it involves a peripatetic garden gnome); fixes up two neurotic acquaintances (Dominique Pinon, Isabelle Nanty); devises a series of petty torments for a rude greengrocer (Urbain Chancellier); brightens the life of her unhappy concierge (Yolande Moreau), and befriends M. Dufayel (Serge Merlin), the reclusive, elderly painter who lives downstairs. It's he who suggests gently that perhaps Amelie should try to work her magic on her own life, and so she pursues Nino Quicampoix (Mathieu Kassovitz), a fellow every bit as odd as she. Some viewers will find this frenetic valentine to oddballs everywhere intolerably sugary, but it has a bizarre edge that cuts the sticky sentimentality. Jeunet's lifelong love of cartoons and puppet animation is evident, and by digitally tweaking virtually every image, he creates a world no less fantastic — if far cheerier — than that of DELICATESSEN (1991) or THE CITY OF LOST CHILDREN (1995). It's unfortunate that Amelie and Nino are less characters than aggregations of quirky character traits, but the lanky, wide-eyed Tautou is so phenomenally charming — her smile could sweeten vinegar — as to make Amelie irresistible. That Kassovitz is less winning hardly matters; Tautou's charisma conquers all. (In French, with English subtitles.)

"French Whimsy"

What You Need To Know:

(RoRo, Pa, B, L, V, SS, NN, AA, D, M) Romantic worldview with New Age & moral elements; one very mild obscenity (“crap”); depicted suicide, verbal abuse of handicapped character & physical slap of handicapped character; depicted & implied sex, foreplay, main character works in porn shop, sexual slang, sexual discussion, & several scenes in porn shop in which nude dancing & sex toys are briefly depicted; upper female nudity, several scenes of women in lingerie & nude dancing; frequent alcohol use; smoking; and, playful deceit, mild mystical elements & abuse of handicapped character.

More Detail:

News outlets recently reported that, despite an initial slump immediately after September 11, the film industry is one of the few markets still flourishing since the terrorist attacks on America. Americans are seeking solace and escape in entertainment, and one movie out there answers that need almost perfectly – the fanciful AMELIE.

AMELIE is definitely not your average French movie. Instead of dark, plodding, and cerebral, this movie is whimsical and gently quirky. The gamine Audrey Tautou, who has been compared most often to Audrey Hepburn, plays the title character, an introverted 23-year-old waitress. Amélie loves to anonymously fix others’ lives by doing secret favors or exacting playful revenge on behalf of the downtrodden. Yet, Amélie fears the messiness of real life and seldom strays far from her lonely apartment.

Longing for human intimacy, she eventually develops a crush on a man she doesn’t even know after she finds his photo album. The album is filled with anonymous, discarded pictures he’s collected from a Photomat machine at a Paris metro station. She tracks down the album’s owner, Nino, who’s played with understated simplicity by actor/writer/director Mathieu Kassovitz. (Regrettably, Nino happens to work as a clerk in a porn shop, but Amélie overcomes her initial disappointment in this flaw.) With a series of mysterious notes and pranks, she lures him on a sort of scavenger hunt to find her and his album. She eventually arrives at a crossroads: Should she take a risk at last and reveal her identity to him? Or should she maintain her safe, anonymous, yet lonely existence?

Along the way to her climactic decision, Amélie comes into contact with various outcasts and loners whose lives she brightens with her kindly, clandestine mischief. She spontaneously leads a blind man down the street and poetically describes the sights surrounding him. She secretly delivers whimsical videotapes to her invalid neighbor. She forges a contrite love note to a widow from her long-dead, adulterous husband. She plays pranks on the local shopkeeper to avenge his abuse of a mentally slow employee. Her quiet magic is underscored by the movie’s fantastical cinematic touches – statues come to life, pictures talk and the heroine literally, though momentarily, melts when she first comes close to Nino. These moments are as oddly moving and uplifting as they are amusing. The sprightly Ms. Tautou deftly makes Amélie a thoroughly lovable and poignant character.

AMELIE lasts too long and is significantly flawed by strong sexual immorality and nudity. Furthermore, Amélie’s destiny ultimately relies on mystical fate. However, the movie’s good-hearted, magical originality largely outweighs its moral shortcomings. If it had not been for its all too obvious flaws, this movie would have been an enchanting, delightful diversion.

Amélie – Interview with Film Director Jean-Pierre Jeunet

Back in 2001, a small French film made waves on the international film scene and became emblematic, not just of France’s cinematic industry, but of the nation itself. Amélie or Le Fabuleux Destin D’Amélie Poulain, follows our eponymous hero as she travels through the stylish Parisian neighborhood, Montmartre, to help friends, family, and strangers find joy in their lives while ignoring her own needs and loneliness. the film became a great critical and commercial success — thanks to director Jean Pierre Jeunet’s inventive story, delightful cinematography, and actress Audrey Tautou’s infectious charm. Twenty years later, Amélie returns to theaters to delight audiences on Valentine’s Day. Jean Pierre Jeunet sat down with Borrowing Tape to discuss Paris, loneliness, and the film’s reputation.

Listen or read the interview transcript below — edited and condensed for clarity:

Hi, I'm Sofia Sheehan of Borrowing Tape. I'm here today with the legendary French director Jean-Pierre Jeunet. One of the best movies of the 21st century, Amélie, which is coming back in theaters this Valentine's Day. So thanks for coming on Borrowing Tape.

All right, so you've mentioned how much Amélie is inspired by personal anecdotes and stories. How does it feel to make such a personal movie that becomes the image of an entire city for so many outsiders?

It's a perfect dream for every creator, I will say, because you make something very personal and you expect probably, I think it was 1 million admissions and to get back the money, and we made 43 million admissions. And it was a kind of dream. Little by little, it became a dream. And sometimes, it goes over the success of a film. For example, we had the screening at the Elysee (Palace,) the French government, with Jacques Chirac, the president. He was beside me, and it was just amazing. It's getting something more than a thing. And it was a big satisfaction because Delicatessen, The City of Lord Children were a big success, but not so much. And I never expected. I never could imagine a success like this. And it happened. So this is a perfect dream,

Amélie is about isolation and loneliness. Why is that such a big theme in all of your films? And what others are important to you?

I don't know. Maybe I love loneliness. I am a bear. I hate parties, I hate people. I hate you. I hate everyone. No, I love to live on my hill in Provence with my wife, my dogs, and my cats. And I am not a Parisian. I hate parties, I hate to honor, I hate to receive medals and this kind of stuff, awards and blah, blah. I hate that. I am a bear, really. I share my time between Paris, and Montmartre to see some people and the hill in Provence. And this is a very good way to do work. And my favorite place is my workshop in Provence.

And I love to build something, to make something with my hand. Augusto Renoir, the painter, used to say, every job, don't use a hand, it's suspect, it's not right. I love this line. You can see my work on my site if you want some kind of African statues made with stuff, finding the natural. And I made an animation short film with Deux escargots s'en vont, [translation]"two snakes are leaving." And also I made another short film with Amélie. You know that La véritable histoire d'Amélie Poulain. Have you seen that?

So it's just for the pleasure to make. This is my pleasure with the human being. And I appreciate the people able to make something, not only hard I am a big fan of National Geographic megastructure, people able to build some bridges, some tunnels, some big stuff. I am a big admirer of the faculty to build to make.

Right and your latest film , Bigbug, which premiered on Netflix, was about the way technology stops human interaction. How do you think Amélie Poulain would do in this modern world of cell phones, inside all the time?

You know she has a telephone, but it's hidden under a coffin or something. I don't imagine Amélie with a computer, with CGI, with social network. Not at all. But it's a strange mix because I love technology. All my films are made with new technology. We were the first with Delicatessen to make some special effects in video, not digital at this time. In video, we're mixing The City of Lost Children in digital for the first time. We make the color grading for Amélie in digital. We were the first in the world. And every time we shot in a real 3D, it was very complicated. I love that. But on the other hand, I appreciate the vintage world in terms of graphics, production design, the costume design, but there is nothing to see. It's not because you love vintage, [that] you leave it in the past. Absolutely not. And, to recreate the vintage aspect, I use a new technology. I love both. I am a big fan of my iPhone, but I hate social networks. That's it. There are two things I don't touch. Motorbikes — too dangerous. I lost so many friends; drugs. Social network and video games. Because of video games, I had the very first one. I couldn't leave during one month. And after that, I put it on the table. I said, finished, never again.

Well, that's good advice to live by. You filmed on location in Paris. You talked about the new technology for Amélie. How difficult was it to film Amélie's version of Paris and not the real Paris?

Yeah, we modified the Paris because at this time it was full, the sidewalk was full of dog shit. And we changed the poster on the street. We got rid of the car, the parked car, a little bit like with the photo from the 50's, the streets were empty at this time. And I modified the streets. Some critics approached me that they say, this is not real life. Of course, it's not the real life. I spend a lot of time to make some effort to modify the real life. I hate the real life. And because I believe about imagination, I feel like a painter. Probably because I am coming from an animation, I feel like a painter. And a painter modifies a reality. I think an artist has to have a vision. a special vision of [the] life. It's better for me, right? The French cinema is often only realistic stories. As a spectator, I appreciate, for example, I love the English directors Mike Leigh or Mike Figgis and Kenneth Loach. They do some beautiful, realistic stories. But as a director, I couldn't make that. I need some fantasy and I need imagination.

Yeah, speaking of your influences, the film is obviously inspired by Nouvelle Vague ('French New Wave') and Marcel Carne? What is it about their work that inspires you? And are there any new directors that you enjoy watching?

Yeah. Nouvelle Vague. Not at all. It's because you say that because there is a small part of Francois Traffaut's regime. But I hate Nouvelle Vague because I love so much cinema from the 50's, and 40's. Marcel Carne was that realism, poetic realism. It was a true story, but with a distance, with the dialogues, with the quality of the picture, with the music. It was poetic. And this is exactly what I tried to do. And the actors as well, they had some interesting faces at this time, character actors. And I love it. I try to stay in the same way. Today.

You've also previously stated about Paris. You couldn't film a sequel in Paris today because of the construction and all the clutter. Is there any other city or country do you think that is pretty enough? For Amélie.

The most beautiful cities on earth for me are Venice, Amsterdam, San Francisco and that's it. They are the most beautiful cities on earth. Paris now? Yes, too much construction sites. Especially with the Olympic games arriving. And now it's so dangerous to walk in Paris. Don't come to Paris. So dangerous. Even if you walk with a scooter. You know what I mean? Bikes everywhere and delivery for food. And that's it. So I hate Paris now. Like everyone. Everyone during the Olympic Games, everybody wants to leave Paris.

Unfortunately, it's not as picturesque anymore. Now, originally you wanted to cast Emily Watson as Amélie. When you met Audrey Tautou, did your idea of the movie change a lot or not as much?

Yes, with Emily Watson it would have been more Bridget Jones probably. We say that on old women. we say "vieille fille" In French — it means someone, alone at 40 45, looking for love. And it would have been great because I love Emily Watson. I know it would have been great, but she left for personal reasons. And when I met Audrey Tautou, I saw only two actresses. She was the second one. And immediately. You can see that on the bonus of the DVD. When I saw her immediately I said, "Where do you come from? I knew I had my Amélie and somewhere it was fresher. Is it correct? More fresh, because she was younger and she brought something amazing. Same thing for the musician and for the DP and Paris and sometimes the stars are in line, you know what I mean? It's like when you cross a city and every light is green. It was the story of Amélie. It was luck. It's once in a lifetime, unfortunately. But we had this luck, the same thing. Michel Hazanavicius had the same luck with the artist. Everything was in green. You know what I mean? Sometimes it happens.

And last question. Why do you think Amélie still resonates more than 20 years later?

Because, first of all, it's timeless. The look, more or less, is timeless. And also because it speaks about something strong. It's a story of a girl helping other people, but she doesn't want anything in return. She does that for free. Of course, she will win love at the end, but it's a strong idea. And I think human beings are the worst piece of shit on earth, but everyone has something good, and when you speak about that, it's touching for everyone. It's not easy to speak about that without being too much sugary. I think I avoid that with Amélie. Not for everyone, of course. Some people think, "Oh, it's too much sugary. I prefer cynical things, of course. "

Watch Amélie  in theaters on Valentine's Day 2024

Amelie Movie Review

Amelie will entrance everyone., watch 'amelie'.

Dinner and a Movie: Amelie

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Fall movies to watch: 15 new releases to see in theaters soon

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Deadpool, Wolverine and a teenager's emotions ruled the summer , but a fresh crop of fall movies is bringing out all the jokers.

There's Michael Keaton 's demonically chaotic Beetlejuice, back on the big screen after more than 35 years. Tom Hardy's freaky antihero Venom returns for another tour of comic book movie duty, plus slasher favorite Art the Clown has his own "Terrifier" threequel. And there's Joker himself, as Joaquin Phoenix 's Oscar-winning take on the homicidal clown gets the spotlight again – this time, with Lady Gaga's Harley Quinn – in a highly anticipated sequel . Follow-ups aplenty and awards-ready fare litter the next two months, which feature everything from a tear-jerking drama with Andrew Garfield and Florence Pugh to an airplane thriller with Mark Wahlberg as a villainous pilot.

Here's an exclusive peek at the 15 movies coming to theaters that you absolutely, positively must see between now and Halloween:

'Beetlejuice Beetlejuice' (Sept. 6)

Director Tim Burton revisits his signature vision of the afterlife with Keaton back as the unhinged title trickster demon. When Lydia Deetz's estranged teenage daughter Astrid (Jenna Ortega) gets pulled into the land of ghosts and sandworms, Lydia (Winona Ryder) reluctantly enlists Beetlejuice to help.

'My Old Ass' (Sept. 13)

The coming-of-age comedy stars Maisy Stella as teenage Elliott, who while tripping on mushrooms with her friends on her 18th birthday begins to have conversations with her 39-year-old self (Aubrey Plaza). The older Elliott tries to dole out life lessons on what she should and shouldn't do, like spending more time with her family and avoiding a certain boy.

'A Different Man' (Sept. 20)

In this dark comedy about identity, Edward (Sebastian Stan) is an aspiring actor with neurofibromatosis, a genetic condition that causes facial tumors. He undergoes an experimental treatment that gives him his dream appearance but becomes irked seeing the attention paid to the man (Adam Pearson) playing Edward in a stage production about his former life.

'Never Let Go' (Sept. 20)

Halle Berry executive produces and stars in the survival horror movie as a determined mom living with her two sons in a remote cabin in the woods. They hide away from an evil that has infected the world and hunts their family, often taking the faces of lost loved ones, though their status quo is shaken up when one of the kids begins to question everything.

'Transformers One' (Sept. 20)

The animated adventure tells the origin story of iconic transforming robot rivals Optimus Prime (voiced by Chris Hemsworth) and Megatron (Brian Tyree Henry). They start as best friends and Energon miners on their home planet of Cybertron who go on an ambitious quest to find the legendary Matrix of Leadership and wind up having their relationship tested.

'Megalopolis' (Sept. 27)

Director Francis Ford Coppola's epic reimagines modern America, where the city of New Rome is a metropolis needing change. Adam Driver stars as the idealistic architect wanting to build its future, Giancarlo Esposito plays the corrupt mayor who aims to stop him, and Nathalie Emmanuel is the woman torn between her artist love and politician dad.

'The Wild Robot' (Sept. 27)

A shipwreck leaves a robot named Roz (voiced by Lupita Nyong'o) stranded on an island full of animals, a situation way out of her programmed comfort zone. She becomes an unlikely parent to an orphaned gosling and protector to a bunch of furry creatures – including helpful fox Fink (Pedro Pascal) – in the heartwarming adventure.

'Joker: Folie à Deux' (Oct. 4)

A darkly fantastical and musical sequel to Todd Phillips' Oscar-nominated 2019 crime thriller, the new "Joker" returns best actor winner Joaquin Phoenix as failed comedian/killer clown Arthur Fleck. Now imprisoned, Arthur awaits his high-profile trial for multiple murders and finds a like-minded romantic partner in No. 1 fan Lee Quinzel (Lady Gaga).

'Piece By Piece' (Oct. 11)

Pop music meets a "Lego Movie" vibe in this imaginative animated biopic chronicling the life story and musical work of Pharrell Williams, told via Lego pieces. The film follows the Grammy-winning singer/producer's rise in the music industry and also features collaborators including Gwen Stefani, Kendrick Lamar, Jay-Z and Justin Timberlake.

'Terrifier 3' (Oct. 11)

This year, peppermint mochas aren't the start of the holiday season – it's the reappearance of slasher villain Art the Clown, in Santa Claus garb. In the third chapter of the ultra-gory, fan-favorite "Terrifier" franchise, the playfully sadistic clown returns to haunt the residents of Miles County, including the heroine (Lauren LaVera) who's still traumatized by her last meeting with Art.

'We Live in Time' (Oct. 11)

John Crowley ("Brooklyn") directs this "Love Story"-esque drama about a rising star chef (Florence Pugh) and a recent divorcee (Andrew Garfield) who meet when she hits him with her car. The chance meeting leads to a decade-spanning relationship, and the couple navigates romance, children and an illness that puts a ticking clock on their lives together.

'Anora' (Oct. 18)

Director Sean Baker's dramedy, which won the Palme d’Or at this year's Cannes Film Festival, is a twist on the "Pretty Woman" formula. Mikey Madison's title character is a New York exotic dancer who meets and falls for client Vanya (Mark Eidelshtein), the son of a Russian oligarch, and when they elope, his family arrives to force an annulment.

'Flight Risk' (Oct. 18)

Directed by Mel Gibson, the intense thriller features Michelle Dockery as an air marshal onboard a small plane taking a high-profile prisoner (Topher Grace) to testify against a crime family in New York. But the already bumpy flight gets even more dangerous over the Alaskan wilderness when the affable pilot (Mark Wahlberg) is revealed to be a mob hitman.

'Smile 2' (Oct. 18)

In the sequel to surprise 2022 horror hit "Smile," pop star Skye Riley (Naomi Scott) is readying for a new world tour and dealing with the stresses of being a famous global sensation. So it's pretty much the worst time to be haunted by fans and friends running around with an ultra-creepy grin, experience increasingly terrifying moments and come to grips with a dark past.

'Venom: The Last Dance' (Oct. 25)

Tom Hardy plays dual roles – Eddie Brock and his extremely violent alien symbiote sidekick Venom – once more in the third and final movie in the comic book movie trilogy. Venom is hunted by antagonistic forces from his home world while Eddie runs afoul of more human villains, and the bantering bosom buddies have to work together to save each other.

Screen Rant

Every movie coming to theaters in september 2024.

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The 10 Best Movies in Theaters Right Now

Megan fox's 2024 sci-fi movie reminds me of another rogue ai (it's not m3gan), 10 reasons megalopolis' reviews are so strongly divided.

September 2024 is packed with exciting movies from different genres, such as the return of a chaotic bio-exorcist, the return of Optimus Prime, a horror remake, Francis Ford Coppola’s latest project, and a lot more. 2024 has carried on the streak of big releases of 2023 with even more success, bringing a variety of highly-anticipated movies along with some fun surprises. The summer is almost over, but that doesn’t mean there aren’t more big releases coming up the rest of the year, and September will officially kick off spooky season.

August saw the release of highly-anticipated movies like M. Night Shyamalan’s Trap , Eli Roth’s Borderlands adaptation, the drama movie It Ends With Us , Fede Álvarez’s Alien: Romulus , Zoë Kravitz’s Blink Twice , and a new adaptation of The Crow . September will bring more exciting movies from different genres, of which some will be available to stream shortly after, and among these releases are the return of Beetlejuice, a new Transformers movie, a horror remake starring James McAvoy, and Francis Ford Coppola’s latest (and controversial) movie.

2024 continues to bring many exciting movies to theaters from all genres and for different tastes, ensuring there's always something for everyone.

Beetlejuice Beetlejuice

Beetlejuice beetlejuice will be released on september 6, 2024, your rating.

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Beetlejuice Beetlejuice reunites the audience with Lydia (Winona Ryder) and Delia Deetz (Catherine O’Hara), who return to Winter River after the death of Lydia’s father.

Over three decades after the first movie, Beetlejuice is back in a sequel appropriately titled Beetlejuice Beetlejuice . Directed by Tim Burton, Beetlejuice Beetlejuice reunites the audience with Lydia (Winona Ryder) and Delia Deetz (Catherine O’Hara), who return to Winter River after the death of Lydia’s father. Lydia is accompanied by her rebellious daughter Astrid (Jenna Ortega), who, to Lydia’s horror, finds the model of the town in the attic at their old house, and so the portal to the Afterlife is opened again, releasing the legendary and chaotic Betelgeuse (Michael Keaton).

Also starring in Beetlejuice Beetlejuice are Monica Bellucci as Betelgeuse’s ex-wife, Willem Dafoe as a ghost detective, Justin Theroux as Lydia’s husband (but not Astrid’s father), Burn Gorman as a reverend, and Danny DeVito in a still undisclosed role.

Transformers One

Transformers one will be released on september 13, 2024.

Transformers One takes the audience to the planet Cybertron to tell the origin story of Orion Pax/Optimus Prime (Chris Hemsworth) and D-16/Megatron (Brian Tyree Henry).

The Transformers franchise is still alive, and its latest entry is an animated movie. Directed by Josh Cooley, Transformers One takes the audience to the planet Cybertron to tell the origin story of Orion Pax/Optimus Prime (Chris Hemsworth) and D-16/Megatron (Brian Tyree Henry), two Cybertronian workers. Orion Pax and D-16 were very close, but they ended up becoming archenemies as Optimus Prime and Megatron. Also part of Transformers One ’s voice cast are Scarlett Johansson, Keegan-Michael Key, Steve Buscemi, Laurence Fishburne, and Jon Hamm.

Transformers One is the first animated feature film released theatrically since The Transformers: The Movie in 1986.

Speak No Evil

Speak no evil will be released on september 13, 2024, speak no evil (2024).

Speak No Evil is a psychological thriller directed by James Watkins. Speak No Evil follows Louise (Mackenzie Davis) and Ben Dalton (Scoot McNairy), who go on a dream holiday to Europe with their daughter, Agnes (Alix West Lefler). There they meet Paddy (James McAvoy), Ciara (Aisling Franciosi), and their son Ant (Dan Hough), with whom they quickly bond. Paddy and Ciara invite the Daltons to their idyllic country estate, but their vacation quickly suddenly turns into a nightmare when the Daltons see the true colors of their new “friends” .

Speak No Evil is a remake of the 2022 Danish movie of the same name by Christian Tafdrup.

The Killer’s Game

The killer’s game will be released on september 13, 2024, the killer's game.

The Killer’s Game is the story of Joe Flood (Dave Bautista), a hitman who, when he learns he has a terminal illness, decides to take control of his fate by taking a hit out on himself.

The Killer’s Game is an action comedy directed by J. J. Perry and based on the 1997 novel of the same name by Jay Bonansinga. The Killer’s Game is the story of Joe Flood (Dave Bautista), a hitman who, when he learns he has a terminal illness, decides to take control of his fate by taking a hit out on himself. However, the hitmen he hired also target his ex-girlfriend Maize (Sofia Boutella), so he must fend off a group of fellow assassins before it’s too late for both. Also starring in The Killer’s Game are Ben Kingsley, Terry Crews, Pom Klementieff, and Drew McIntyre.

Subservience

Subservience will be released on september 13, 2024.

Subservience (2024)

Nick buys a domestic android with artificial intelligence called Alice (Megan Fox) to help him care for the house and his daughter.

Subservience is a sci-fi thriller directed by S.K. Dale. It’s the story of Nick (Michele Morrone), a father struggling with keeping up with work, the house, his daughter, and his wife Maggie (Madeline Zima), who is in the hospital. Nick buys a domestic android with artificial intelligence called Alice (Megan Fox) to help him care for the house and his daughter. Not long after, Alice gains sentience and begins to take Maggie’s role as mother , carer, and Nick’s partner, but when Maggie returns home, Alice becomes jealous, violent, and potentially deadly.

Megan Fox stars in the upcoming sci-fi horror movie Subservience, which reminds me of another disturbing rogue AI – but it's not M3GAN.

My Old Ass Will Be Released On September 13, 2024

My Old Ass follows Elliott Labrant (Maisy Stella), who, on a mushroom trip on her 18th birthday, meets her wisecracking 39-year-old self (Aubrey Plaza).

My Old Ass is a comedy-drama written and directed by Megan Park. My Old Ass follows Elliott Labrant (Maisy Stella), who, on a mushroom trip on her 18th birthday, meets her wisecracking 39-year-old self (Aubrey Plaza). Her older self begins to give Elliott advice and warnings about their life and what she should and shouldn’t do (like avoiding anyone named “Chad”), forcing young Elliott to rethink her relationships and what she knew about family, love, and friendship… but also giving her old self something to think about.

The Substance

The substance will be released on september 20, 2024.

The Substance is a body horror film written and directed by Coralie Fargeat. The Substance follows Elisabeth Sparkle (Demi Moore), a fading celebrity known for an aerobics show who, on her 50th birthday, is fired by her boss. Struggling to cope with that, Elisabeth is offered a substance by a laboratory that promises to transform her into an enhanced version of herself by temporarily creating a younger, better version of herself (played by Margaret Qualley) – but what she isn’t counting on are the horrifying side effects.

Also starring in The Substance are Dennis Quaid, Hugo Diego Garcia, and Joseph Balderrama. The Substance premiered at the 2024 Cannes Film Festival, where it received a standing ovation (though how long it lasted varies depending on the source).

Never Let Go

Never let go will be released on september 20, 2024.

Never Let Go (2024)

It all takes a turn when one of the boys begins to doubt if the evil is real.

Never Let Go is a survival horror film directed by Alexandre Aja. Never Let Go follows a family consisting of a mother (Halle Berry) and her twin sons who are tormented by a malicious spirit, with their only protection being their home and their family bond. To stay safe, they need to be connected at all times, tethering themselves with ropes and promising to never let go. It all takes a turn when one of the boys begins to doubt if the evil is real, breaking the family’s sacred bond and sending them into a dangerous fight for survival.

Megalopolis

Megalopolis will be released on september 27, 2024, megalopolis (2024).

Megalopolis is a sci-fi drama written and directed by Francis Ford Coppola. Megalopolis takes the audience to a fictional and futuristic metropolis called New Rome, where an accident destroyed the city. Cesar Catilina (Adam Driver) is an idealist architect with the power to control time, and he plans to rebuild New Rome as a sustainable utopia. However, corrupt Mayor Franklyn Cicero (Giancarlo Esposito) is committed to a regressive status quo, and to further complicate Cesar’s plans, Franklyn’s daughter, Julia (Nathalie Emmanuel), falls in love with Cesar as she searches for her life’s meaning.

Also starring in Megalopolis are Aubrey Plaza, Shia LaBeouf, Laurence Fishburne, Jason Schwartzman, Talia Shire, Jon Voight, and many more. Megalopolis is a passion project for Coppola, and it took him decades to finally make it. Megalopolis premiered at the 2024 Cannes Film Festival, and it polarized critics.

Francis Ford Coppola’s sci-fi epic Megalopolis has finally had its premiere after a lengthy development, and it has confounded critics at Cannes.

The Wild Robot

The wild robot will be released on september 27, 2024, the wild robot (2024).

The Wild Robot is the story of ROZZUM unit 7134 a.k.a. Roz (voiced by Lupita Nyong’o), who is shipwrecked on an uninhabited island.

The Wild Robot is an animated sci-fi movie based on the book series of the same name by Peter Brown. Directed by Chris Sanders, The Wild Robot is the story of ROZZUM unit 7134 a.k.a. Roz (voiced by Lupita Nyong’o), who is shipwrecked on an uninhabited island. Roz is forced to adapt to the harsh surroundings, and in the process, she bonds with the animals on the island and becomes the adoptive parent of an orphaned runt goose named Brightbill (Kit Connor). Also part of the voice cast of The Wild Robot are Pedro Pascal, Catherine O’Hara, Mark Hamill, and Bill Nighy.

Lee Will Be Released On September 27, 2024

Lee is a biographical drama directed by Ellen Kuras in her feature directorial debut. Based on the 1985 biography The Lives of Lee Miller , by Antony Penrose, Lee tells the story of Lee Miller (Kate Winslet), an American fashion model who became an acclaimed photographer and war correspondent for Vogue magazine during World War II. Also starring in Lee are Marion Cotillard, Andrea Riseborough, Andy Samberg, Josh O’Connor, Alexander Skarsgård, Noémie Merlant, and Arinzé Kene.

The Best New Movies and Shows on Apple TV+ in September 2024

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Summer is an amazing season for streaming, with 2024 dominated by the likes of Bridgerton , The Bear , and The Boys . Alas, summer is now over, and many may miss the exciting slate of the season's streaming options. Fear not, though, as the Fall of 2024 looks to be just as exciting as its predecessor . One of the leaders of Fall's big releases is Apple TV+, with returning hits and brand-new star-studded movies on their way. With that in mind, here is a look at the best movies and shows coming to Apple TV+ in September 2024.

To get a better look at the wide range of movies and shows Apple TV+ has to offer, check out these handy Collider links:

• The Best Shows on Apple TV+ Right Now
• The Best New Movies on Apple TV
• The Best Comedy Series on Apple TV+ Right Now

'Slow Horses' (Season 4)

Slow Horses has been an unquestionable hit for Apple TV+, with the Gary Oldman -led dramedy boasting millions of doting fans who have lapped up the first three outings. Now, after a tense Season 3 finale, the fourth season is back and promises to be quite literally explosive as a bombing rocking Slough House to its core. The person responsible for the explosion is found cold in the driver's seat of the vehicle responsible, with the team having to piece together the strange jigsaw to find out the mysterious truth behind the incident.

Based on Mick Herron 's series of novels, Slow Horses is a beautiful blend of classic spy drama and modern, refreshing comedy . Given the excitement built following the release of the above Season 4 trailer , the next addition to the series looks to be the best, perhaps. A five-time BAFTA-nominated series, Slow Horses has already been given the green light for a fifth outing, so expect some upcoming plot threads to linger past Season 4. The new season debuts on September 4, with not one but two episodes released on the first day, with subsequent episodes released weekly.

Slow Horses

Watch on Apple TV+

'La Maison'

It's important for any streamer worth their title to produce high-quality content in a multitude of languages . La Maison is the most exciting French-language addition to the streamer in some time, with 10 episodes of high-octane drama on their way. Set in the destructive fashion world, two families fight for supremacy as cutthroat business battles and personal rivalries consume their daily lives. The once-prestigious haute couture house, LEDU, is now hanging by a thread and must install a team of visionaries to revive its legacy - something harder than ever, thanks to a volatile current fashion climate.

Starring Lambert Wilson, Amira Casar, Carole Bouquet , and more, La Maison is an intriguing addition to Apple TV+'s September slate that blends an immersive story with eye-catching cinematography. For a series set in the fashion industry, a bold look will be key to battle with the other big series releasing this month, and, if the promotional material released thus far is anything to go by, La Maison will certainly be worth the fight. La Maison debuts on September 20 .

'Midnight Family'

Inspired by the award-winning documentary of the same name, Midnight Family (or Familia de Medianoche ) follows the unusual nightly activities of one family, led by Marigaby Tamayo ( Renata Vaca ). A medical student by day, by night Marigaby takes the streets of Mexico City with her family in their privately owned ambulance, looking for lives to save.

A story with an enormous heart and a spine of truth , Midnight Family is a fascinating addition to Apple TV+'s September lineup with a tale inspired by real events. Unlike anything you may have seen before, the series looks to be a fast-paced ode to the incredible Ochoa family on which the show is based. Adapted by Natalia Beristáin, Julio Rojas, and Gibrán Portela, the show will debut with two episodes on September 25, with subsequent episodes in the ten-episode run airing every Wednesday through November 20, 2024.

'Wolfs'

The biggest feature-length addition to Apple TV+'s September lineup sees Brad Pitt and George Clooney as Jack and Nick, two fixers assigned to head into crime scenes and deal with the mess, who are forced to work together against their wishes. After Amy Ryan 's prominent New York District Attorney makes a big mistake that needs two pairs of hands to clear, Jack and Nick's evening spirals out of control into a world of chaos.

Directed by the MCU's Jon Watts , Wolf boasts an impressive cast, including the aforementioned Pitt, Clooney, and Ryan, as well as Austin Abrams , Poorna Jagannathan , and others. A big budget addition to Apple TV's catalog, Wolfs sees the streamer pivot to a limited theatrical release, with select theaters showing the film on September 20, a week before it arrives on streaming. Not only that, but the film has already received the green light for a sequel , such is the faith given by executives to the project.

The movie follows two rival "fixers" who are both hired to clean up the same high-profile crime. As these lone wolves are forced to work together, their night spirals out of control in unexpected ways.

The Deliverance Review: This Netflix Horror Pic Blends Family Drama With Possession Movie Cliches

Lee Daniels' new Netflix movie "The Deliverance" is trying to be two things at once. For most of its runtime, it's a down-to-earth family drama with an unapologetically prickly protagonist. Then, the film descends into the hoariest of cliches as it turns into a heavily religious possession horror pic, complete with potty-mouthed demons and children contorting their bodies in unnatural ways. Neither of these approaches are particularly successful together, although the family drama stuff works much, much better than the horror movie trappings. Billing itself as being based on true events (sure), "The Deliverance" is at its best when its focusing on its flawed main character. That would be single mother Ebony Jackson, played with real grit by Andra Day, who starred in  Daniels' "The United States vs. Billie Holiday."

Ebony is not a likable character, and the film isn't afraid to lean into that. She drinks too much, and when she drinks she gets violent. In fact, she's violent even when she's sober — at one point, she smacks her youngest son Andre (Anthony B. Jenkins) in the face after he asks for more milk, drawing blood in the process. When a pest control guy who happens to be Asian comes by to take care of something, Ebony hurls a racist remark his way because he dared to ask her to pay him for his services. And while you get the sense that she loves her children — in addition to Andre there's also Nate ( "Stranger Things" actor Caleb McLaughlin ) and Shante (Demi Singleton) — she's frequently quarreling with them. She's also frequently quarreling with her no-nonsense mother Alberta, played by a scene-stealing Glenn Close. It's implied multiple times that the abuse Ebony hurls at her children is something she learned from Alberta — a fact Alberta isn't proud of, and something she's tried to atone for by finding religion.

The drama of The Deliverance is better than the horror

The fact that "The Deliverance" is so unafraid to have such a conflicting protagonist is definitely one of its more interesting aspects. The script, credited to David Coggeshall and Elijah Bynum, doesn't try to make excuses for Ebony, it simply wants us to take her as she is. Day's performance is the key to making this work — in a lesser performer's hands, this character might be downright unbearable, but Day is able to find a raw humanity in the role. We may not forgive Ebony's decisions, but at the same time, we can understand where she's coming from. Hurt people hurt people, as the saying goes. 

Ebony, her kids, and Alberta have just moved into a house in Pittsburgh, and right off the bat, things start to go wrong. Andre starts sleepwalking, and when he's not doing that, he's having conversations with an imaginary friend (I bet you can guess where that's going). Meanwhile, an alarming number of flies keep coming out of the basement — a fact the family ignores for way too long, in all honesty. Later, all three children will behave erratically at school, something that earns Ebony unwanted attention from school officials, doctors, and Cynthia (Mo'Nique, quite good in a small part), a social worker who has a habit of popping up at Ebony's home at the worst possible times.

The everyday struggles of Ebony and her family are the far more interesting elements of the movie, which is why "The Deliverance" loses steam when it turns into a generic possession movie full of shouts to Jesus. Ebony eventually teams up with a demon-fighting reverend (Aunjanue Ellis-Taylor) who knows a thing or two about her new home, and this is when "The Deliverance" really goes off the rails. 

Glenn Close's performance in The Deliverance will get your attention

While the horror elements of "The Deliverance" are lacking and in some cases, laughable, the film does mostly stay afloat thanks to its performances. As already mentioned, Day carries the film nicely, and I want to see more of her in as many movies as possible. She should be a bigger star by now. She's backed up by Close, who honestly might be the movie's biggest draw. Sporting a series of wigs and colorful outfits, Close shows that she's seemingly up for anything, and she's  definitely not afraid to go big. Without giving away spoilers, a third act moment has Close hamming it up to the extreme, and while this could've backfired horribly, it ends up being one of the movie's more lively details.

Still, none of this is enough to completely save "The Deliverance." I'm a big horror fan, and yet I honestly feel like Daniels would've had a stronger movie on his hands if he had just jettisoned the supernatural stuff entirely and stuck to the earthly drama. Daniels is a filmmaker who isn't afraid to go over-the-top, but he seems to not have much of a grasp on crafting supernatural horror, and that hurts a movie that clearly wants to be scary and never is. 

While horror fans might not get much out of "The Deliverance," it might be worth watching for the performances alone. At the very least, several of the acting choices Glenn Close makes here will burn themselves into your brain and make you forget all about her turn in "Hillbilly Elegy."

/Film Rating: 5 out of 10

"The Deliverance" is streaming on Netflix starting August 30, 2024.