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88A romantic comedy for anyone in love with the movies, and anyone, for that matter, who's in love.
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88The film's most endearing trait is that these people sincerely love movies, and they truly love their own idiosyncrasies. And is that not the greatest love of all?
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83With every detail in this clever peekaboo, the sly filmmaker dangles the possibility that fiction is fact and that Yvan and Charlotte are real -- or at least as real as the movies.
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80A terrifically deft picture about the thick line that separates movie glamour from the real world, and the thin line between common sense and paranoia.
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80The film tends to groan under the weight of his obsessions -- and his sister's fixation on circumcising her son -- yet for much of the 95-minute running time the chemistry between Attal's vulnerable husband and Gainsbourg's sweet, beguiling wife is irresistible. The terrific score is by jazz pianist Brad Mehldau.
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75Despite its many charms, the title of the film -- both complaint and boast -- makes clear whose point of view this is. Gainsbourg is delightful, intelligent and sexy, but this isn't her film.
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75Nearly stolen by the veteran Stamp's gently fatuous John.
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Gainsbourg's character seems too sweet to be true until she tangles with her onscreen director over nudity. The fire Gainsbourg brings to the scene suggests she's had similar battles.
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70Never less than clever and often digs down into some uncomfortable realities about the strange lives of that odd species known as “movie people.”
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70A light, enjoyable night out. This happens largely because of Charlotte Gainsbourg, who's simply adorable. Attal shoots her with tenderness throughout, a tenderness that comes from familiarity.
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67While Gainsbourg and Stamp are charming, Attal's husband is difficult to like, to say the least. Must a woman as gracious and intelligent as Charlotte really settle for domesticity with such a near-abusive boor?
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63It circles the possibility of mental and spiritual infidelity like a cat wondering if a mouse might still be alive. Watching it, I felt it would be fascinating to see a movie that was really, truthfully, fearlessly about this subject.
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63Light as the film may be, My Wife Is An Actress is not devoid of charm. It's like a summer book: quick, enjoyable and, mostly, easily forgotten.
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63Although the movie is not as hilarious as you'd hope from the screwball setup, Gainsbourg and Attal make a solid comedy team.
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63Combine the title with the image of a dazzling female and a frazzled male, and you've got the movie perfectly.
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60The French are very good at taking sit-commy setups and cloaking the machinery with charming and surprisingly resonant comic nuance.
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60A sporadically amusing but ultimately very slight showbiz story about being married to a celebrity. Most of the jokes and situations are predictable, and the film is saddled with irritating supporting characters.
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60Mr. Attal's real-life problem is his simplistic script, which makes the husband a childish fool and a bit of a bore.
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60A blackhearted little film. What's being marketed as a frothy French confection about jealousy (specifically the jealousy of a regular guy married to a famous movie star) also just so happens to be a portrait of a marriage going down the toilet.
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58Isn't profound or dazzling or groundbreaking. But it's a pleasant, clever and sincere little romp, proof that you don't need to harbor heroic ambitions to create something satisfying.
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50None of this quite gets off the ground, and I found myself wanting to bid farewell to Yvan and Charlotte quite a while before the final credits rolled. Not every wannabe Woody Allen is Woody Allen.
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50It's hard to tell whether Attal means the fictional Yvan to be such an colossal jerk. His abrasive obnoxiousness undermines the film's generally light tone, and seriously deflects sympathy away from his character's dilemma.
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50In the end, one's appreciation of My Wife Is an Actress may depend on the extent to which you like the character of Yvan and relate to his anxieties.
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40Calculated to titillate middlebrow audiences on both sides of la Manche.
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40Sadly, that thin premise snaps after a while, and when Wife takes a serious turn, it becomes apparent how little the director has to say.
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40Gainsbourg is virtually incidental to her mate's screeching navel-serenade, which maintains a stranglehold on the declarative first-person mode of its title.
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40There is more anxiety than loving humor in the proceedings, and a noticeable lack of charm.
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30Attal, who resembles a young Robert De Niro, seems as addled as a director as his character is as a husband, throwing all manner of distractions onto the screen in order to divert the audience.