| 91 |
Entertainment Weekly
A satisfying contraption of twists, missteps, and blithe repartee that produces old-fashioned, honestly earned guffaws.
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| 90 |
Los Angeles Times
A complete master of cinematic farce, Veber's latest venture, The Valet, makes creating deliciously funny comedy look a lot easier than it has any right to.
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| 80 |
The New York Times
If you love to hate the superrich, The Valet, a delectable comedy in which the great French actor Daniel Auteuil portrays a piggy billionaire industrialist facing his comeuppance, is a sinfully delicious bonbon.
|
| 80 |
The Hollywood Reporter
Bernard Besserglik
Francis Veber's latest offering, remains faithful to the formula -- broad farce leavened with witty dialogue -- that has made him France's most bankable comedy writer-director and a surefire hit with international audiences.
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| 80 |
Chicago Reader
This sublime French farce reminded me most of Billy Wilder.
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| 80 |
Washington Post
Kristin Scott Thomas delivers an unnervingly smooth performance as Auteuil's suspicious wife.
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| 75 |
San Francisco Chronicle
An enjoyable farce, with lots of laughs and a strong cast. At 80 minutes long, it's that rare case of a short film that should have been longer.
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| 75 |
Seattle Post-Intelligencer
Far from his best work ("Le Placard," "Le Jaguar"), but even off-form Veber has its moments of inspiration and the movie is definitely worth seeing.
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| 75 |
The Globe and Mail (Toronto)
When Veber is on form there's no one better. And when he's not, well, give The Valet a look anyway -- there's still much to admire.
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| 75 |
New York Daily News
An old-fashioned joy.
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| 75 |
Baltimore Sun
The original French title is "La Doublure," but The Valet fits Veber. He has become a one-man service industry when it comes to spreading Gallic barbed humor and good cheer.
|
| 70 |
The New Yorker
The Valet does not show Veber at his best. His palate for misunderstandings of every vintage is as refined as ever; what he has lost is his taste for human failing.
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| 70 |
Variety
Layers of intrigue mesh with Hollywood-style efficiency, pitting sincere feelings against ruthlessly mercenary machinations. Also in Hollywood style, sincerity and integrity carry the day.
|
| 70 |
Village Voice
Robert Wilonsky
Of all of Francis Veber's farces (The Dinner Game, La Cage Aux Folles, etc.), this is the one that feels most like a sitcom pilot, which is to say it's a farce most forced.
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| 63 |
New York Post
As always in Veber's films, the predictability is part of the fun.
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| 63 |
Premiere
Its punchline, imagining the worst that could happen to Auteuil's slimy exec, is weak and kind of dumb, but the rest of the film is genial, appealing, and brisk.
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| 63 |
Boston Globe
The new movie is tart and weightless, and it entertains without leaving a mark. Not that there's anything wrong with that, but at 85 minutes, The Valet at times feels like a blueprint for a farce rather than the farce itself.
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| 63 |
Philadelphia Inquirer
This mildly amusing tale of infidelity, blackmail, class differences and corporate greed not only strains credulity - it strains for laughs.
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| 63 |
Chicago Tribune
Veber's early stage training serves him well both as an adapter (he wrote the "La Cage aux Folles" screenplay) and as a maker of originals though, truth be told, The Valet isn't especially original.
|
| 60 |
Salon.com
A sunny, cheerful, thoroughly artificial concoction, going nowhere with no particular speed. Still, better than your average airplane movie.
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| 58 |
Portland Oregonian
With so much potential, The Valet is disappointingly flat and wan, with few of the moments of cringe-and-laughter-inducing mortification that are Veber's stock in trade.
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| 38 |
TV Guide
The films of writer/director Francis Veber are a bracing reminder that French comedies can be every bit as broad, unsophisticated and cliched as their American counterparts.
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| 30 |
Austin Chronicle
Toddy Burton
Shot with the creative energy of a mediocre sitcom, the scenes play out predictable plot devices with minimal creativity and even less risk.
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