Count me among the shruggers. Way too desperate to convince you of its brilliance, it comes off as the second coming of Bertrand Blier (PG version) or, at best, the second coming of lite-Truffaut, and neither prospect gets my blood racing. Considering how beholden the film is to The Royal Tenenbaums, Despleschin could at least have picked up some pointers from Anderson on how to make an archly esoteric soundtrack actually work.Highway 61 wrote:Surprised to see the praise for this here. I thought the film sunk into bathos as soon as the love triangle with the Chiara Mastroianni character was introduced. Maybe I'll have to give it another look.
Until this thread, I thought there was only one other person in the world who shared this opinion!