| 88 |
Boston Globe
It's refreshing to see Gondry's moviemaking still possessed by the community spirit he caught a few years ago with "Dave Chappelle's Block Party."
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| 83 |
The Onion (A.V. Club)
The visual wit, game performances, and overflowing humanity have more than made up for the shortcomings by the time the film finds a final moment that's simultaneously abrupt and magical.
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| 75 |
Seattle Post-Intelligencer
It's as if Gondry lets his performers settle into their parts and feel their way through their stories. It gives the film an ambling pace and a unique chemistry that bubbles with strange and unexpected flavors.
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| 75 |
New York Post
A love letter to the technology and movies of the 1980s as well as celebrating the DIY ethos of the YouTube generation.
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| 75 |
Philadelphia Inquirer
A charmingly off-the-wall little tale. Black doesn't do anything he hasn't done before (in fact, he's already done his remake of King Kong!).
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| 75 |
Miami Herald
At its best when it is at its most freewheeling -- when it tramples past logic, motivation and basic plausibility in its pursuit of a funny, whimsical kind of nonsense.
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| 70 |
Time
in a larger sense Be Kind Rewind declares that the riches of cinema history touch each of us personally. Films become so deep a part of us that we own them that our memories of them, whether faithful or fanciful, become their meanings. As a movie critic and, even before and above that, a movie lover, how can I disagree with that?
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| 70 |
Salon.com
An achingly sweet, shambling creation that takes its time and wanders through slow-moving sight gags and odd supporting performances (like Mia Farrow's, as a dithery, lonely woman who is among the store's only customers) and ends up with a marvelously warm community-melding scene out of maybe 1924, with a bunch of people standing around on the street watching a black-and-white silent film.
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| 70 |
The New York Times
In its sweet, lackadaisical way, Michel Gondry’s Be Kind Rewind illuminates the pleasures and paradoxes of movie love.
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| 70 |
Washington Post
The films of Michel Gondry aren't for everyone, but viewers who vibe to his playful, cerebral, wildly imaginative sensibility might get a kick out of Be Kind Rewind.
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| 70 |
The Hollywood Reporter
It's an exuberant, fanciful fable set amid the scruffy outskirts of American society, where people's need for escapism coincides with their desire to participate in its creation.
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| 67 |
Entertainment Weekly
There's nothing not to like about the movie, a teensy, hand-crocheted trifle, fitted with embroidered pockets of guest stardom, including Mia Farrow as the nice local lady who wants to see what "Ghostbusters" is all about and "Ghostbusters'" own Sigourney Weaver as a movie-studio corporate meanie, ha-ha.
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| 63 |
Rolling Stone
Gondry and the gifted indie cinematographer Ellen Kuras have fun with the amateur versions of the likes of "RoboCop," "Rush Hour," "2001: A Space Odyssey," "King Kong" and "Driving Miss Daisy." These snippets are fun but frustratingly brief.
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| 63 |
Chicago Tribune
The film doesn’t hold together. But it’s the work of a real director, however fantastic his sensibility.
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| 63 |
Charlotte Observer
Thirty minutes into Be Kind Rewind, you may wonder what you're doing in the theater.
Sixty minutes into it, if you have stayed, you will know.
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| 63 |
Chicago Sun-Times
Whimsy with a capital W. No, it's WHIMSY in all caps. Make that all-caps italic boldface. Oh, never mind. I'm getting too whimsical.
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| 63 |
ReelViews
Predictable this isn't, but that can be seen as both an asset and a detriment.
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| 63 |
Premiere
Gondry might have been better off keeping his movie on theoretical/slapstick grounds, because, quite frankly, his attempts at sincerity just don't make it.
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| 60 |
Empire
The remake/parody sequences - trailers for which are on the official site - are outstanding, but Black’s all-over-the-place mania and Mos Def’s slightly too bland orphan hero don’t quite tie the rest of the picture together. Still, it has heart. And you’d rather see this version of "Rush Hour 2" than the original.
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| 60 |
Los Angeles Times
Sweet-natured and likable as the movie is, it never really delivers on the promise of its ingenious premise, which hints at a subversive retelling of mainstream Hollywood movies but stops short at goofy homage.
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| 50 |
Austin Chronicle
Gondry’s well-meaning but too soft, too structure-less picture.
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| 50 |
Slate
Dana Stevens
An unambiguous celebration of the state of preadolescent fixation. The movie is perhaps best understood as a 12-year-old boy: You want to give it a hug and then yell at it to pick up after itself.
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| 50 |
USA Today
Feels slight and repetitive, even when there is no actual rewinding going on.
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| 50 |
TV Guide
The whole film has a rag-tag, purposefully shambolic feel -- but this communal commitment to a DIY aesthetic is also his undoing, particularly when he allows an irritatingly manic Jack Black to run wild and virtually hijack the movie.
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| 50 |
New York Magazine
The funniest things in Be Kind Rewind are not the many moments in which Mike and Jerry look like Ed Wood’s worst nightmare, but when the pair finds expedient ways to do for pennies what would take Brett Ratner millions and be less expressive to boot.
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| 50 |
Village Voice
Although frequently funny, Be Kind doesn't have the same pathos as "The Science of Sleep." (Nothing approaches the loneliness projected by Gael García Bernal and Charlotte Gainsbourg.)
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| 42 |
Christian Science Monitor
No doubt Be Kind Rewind will soon make its way to – um – DVD.
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| 42 |
Baltimore Sun
This movie doesn't have a mean bone in its body; the problem is, it doesn't have any bone in its body.
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| 40 |
The New Yorker
A comedy without one foot on the ground is no more than a flight of fancy, as directionless as a balloon; the master clowns of silent cinema knew that, and so does Mr. Fletcher, the gravid elder statesman of this film. As he says to Mike and Jerry, “I appreciate your creativity, but let’s be realistic for a second.” Be kind. Erase.
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| 40 |
Variety
It's a quick trip from whimsy to silliness in Be Kind Rewind, a notably ephemeral work by Michel Gondry, whose flights of fancy can't overcome the egregious illogic of the premise.
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| 30 |
Dallas Observer
A muddle—not amiably ambling, not affably shaggy, just a mess that gets messier till, at times, the whole thing looks improvised by amateurs more concerned with being clever than something resembling affectionate.
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| 30 |
Chicago Reader
This anachronistic tale goes beyond Capracorn to evoke Depression-era fare like
"One Hundred Men and a Girl" in which the charm is overtaken by mush. One wants to protect this, but it's hard not to gag on the cuteness.
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| 25 |
The Globe and Mail (Toronto)
Apparently pitched somewhere between a farce and a fable, this flick is neither. Just foolish. And frustrating. And, mostly, damned annoying.
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| 25 |
San Francisco Chronicle
Inside 10 minutes, at most 15, Be Kind Rewind reveals itself as an awful mess, and it only gets worse.
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| 10 |
Film Threat
Mark Bell
I had just sat through a comedy that wasn't funny, a drama that wasn't touching and, all told, a mess of a story told by actors making some of either the laziest or most daring of choices, depending on your perspective. Sometimes both.
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