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100Shall We Kiss? gives us storytelling as art. Emmanuel Mouret's romantic drama, in French with English subtitles, is expert, intricate, ineffably droll, ultimately provocative and entirely enchanting.
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90This is upscale French entertainment at its best.
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88Impossibly charming and impossibly French.
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Misunderstandings, new turns and stratagems mark the rest of this delightful divertimento, which navigates between burlesque and romantic comedy.
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80Witty, insightful portraits of hyperverbal, self-conscious young people falling in and out of love.
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80It is classical in form yet fresh and spontaneous.
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80The players in this mouth-watering Gallic soufflé are so attractive, well mannered and comfortably grounded in the bourgeois world that you needn't fear for their well-being, minor heartaches notwithstanding.
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75Ledoyen in particular humanizes the story-within-a-story strategy. Her character's sly verbal hesitations become part of a mutual seduction, more theoretical than practical, but enticing nonetheless.
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75Features crisp dialogue and understated humor, played out by an attractive young cast. Audiences bred on Hollywood romances might find the film too chatty and contemplative. To them I say: Get over it, kids!
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75An engaging romantic comedy that's deeper, smarter and more pessimistic than it appears at first glance, a film with shrewd insight into the mysteries of human attraction.
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75The whole thing's weightless: An upscale date-movie bonbon that keeps yielding pungent aftertastes.
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75A sensational date movie.
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75Mouret not only stars (opposite a delicate Ledoyen) as the slightly schlemiely fellow in want of a woman's affection, he also wrote and directed this enticing, weightless divertissement.
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75If you have a hankering for a pretty good Woody Allen movie and want to brush up on your French at the same time, Shall We Kiss? is the ticket.
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70The result is that Shall We Kiss? puts its viewers in a bind worthy of the lovers themselves: should we organize a Socratic symposium on the issues raised by the film, or hurl our popcorn violently at the screen?
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67The very definition of "breezy." It's a featherweight romantic comedy.
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63They (the characters) approach the subjects of sex and romance with a naivete so staggering, it must be an embarrassment in the greater world. Inside their hermetically sealed complacency, I suppose it's a little exciting.
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50Perhaps the film's biggest weakness is that all the characters are so naive and petty you can't really work up much fervour about who sleeps with whom. That would never be a question in a movie like "Casablanca."
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50Painfully dunderheaded about the proclivities of the human heart.
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Bogs down in the philosophical shallow end and never quite recovers from what's clearly meant to be a deceptively light tone.
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It is as if the director had studied the comedies of Eric Rohmer and Woody Allen from top to bottom and come away with all the wrong lessons.
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50The problem is that once they do connect, their passion isn't believable.
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