Cutesy art-house item looks at the world (at Paris, more precisely) through the primrose-colored glasses of Jean-Pierre Jeunet: a delayed-meeting romance à la And Now My Love, Sleepless in Seattle, et al., and a fashionable juggling act of fate, chance, coincidence, etc. The dementedly winsome heroine (Audrey Tatou), prone to conspiratorial glances at the camera, and egged on by a waggish narrator, is a self-denying do-gooder whose secret mission seems to be the spiritual enlightenment of others, often by the most devious means: reprogramming a speed-dial button from "Mother" to "Psychiatric Helpline." The boundless, bounding imagination tends to be grounded, however, by the air of effortfulness. The best of it -- the broad omniscient view of humanity combined with an eye for random trivial detail -- was done better, and funnier, in Jane Campion's apprentice work, Passionless Moments, and at about one-tenth the length. With Mathieu Kassovitz. (2001) — Duncan Shepherd
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