FIND MOVIES
Movie List
Loading ...
or
Find Theaters and Movie Times
or
Search Movies

Roman de gare

Don't be fooled into thinking this film has substance
By NICK McCARTHY  |  May 16, 2008
2.5 2.5 Stars

080516_inside_Roman

People tell lies. Writers and directors do it for a living. Fortunately for Roman de gare, Claude Lelouch is a fabulous fibber — even if his slick direction is more convincing than his hackneyed screenplay. The idea of deception pervades Roman de gare’s tricky world — Lelouch might even fool you into thinking his film has substance. Famous novelist Judith Ralitzer (Fanny Ardant) travels the world looking for intriguing characters while her may-or-may-not-be ghost writer (Dominique Pinon) embarks on his own adventure of mistaken identities, one that dissects the narratives that people create in their own lives. At first the film’s cheeky self-reflexivity provides a clever platform for suspense and humor, but the pulpy pabulum overwhelms its insights into relationships. As Lelouch adds each new layer to the convoluted story, his perception of human behavior becomes more of a fiction than a truth. 103 minutes | French | Kendall Square

  Topics: Reviews , Entertainment, Movies, Fanny Ardant,  More more >
| More


Most Popular
ARTICLES BY NICK MCCARTHY
Share this entry with Delicious
  •   NEVER FOREVER  |  May 21, 2008
    Although Kim has her pulse on religious, racial, and social conflict, she relies too much on contrived plotting.
  •   ROMAN DE GARE  |  May 16, 2008
    Claude Lelouch is a fabulous fibber.
  •   BLINDSIGHT  |  March 12, 2008
    Six sightless Tibetan students take a demanding field trip toward equality via Lhakpa Ri, a 23,000-foot peak on the north side of Everest. Blindsight, however, impedes more than it inspires.
  •   GRACE IS GONE  |  January 23, 2008
    It’s strange that a film whose young characters are told to question the media should rely on its score to dictate how you’ll feel.
  •   MILAREPA: MAGICIAN, MURDERER, SAINT  |  October 03, 2007
    All mountains, monks, and a soundtrack of wailing women, Neten Chokling’s film opens with the announcement of a birth.

 See all articles by: NICK McCARTHY