Very very predictable, including the post credit scene !!!

The film was still a fun one that will make you laugh and have you leaving the theater feeling like you just stole something valuable and got away with it.

It is neither dumb nor smart enough to be fun, and spends way too much time with its boring human characters.

The storyline feels a little thin and moth-eaten in parts but this sequel is plenty of fun.

I recommend people read "Excruciating" (federovsky, 8/30/12) and "Much Ado About Nothing" (Milan, 4/15/2012) if they want to know what they are in store for. "Celine and Julie Go Boating" is difficult, frustrating and over long. However, it is also the kind of film that after seeing it, you wonder what other people have to say about it.I didn't enjoy it much. Visually, it is not terribly special. The relationship between the two women and the "haunted house" is what keeps us watching, but the scenes come very slowly.Several people have said it unfolds like a dream. Others have pointed out the lesbian/feminist side to it. Another possibility is that the two women represent two personalities of a schizophrenic nurse who committed an unspeakable crime. That would explain the repetitive cutting between one woman as the nurse and then her counterpart switching in. The two sides of the same madwoman angle possibly explains why the story includes the woman who is a performance amateur subbing for the experienced magician.Between "Celine" (Juliet Berto) and "Julie" (Dominique Labourier), I think Labourier is the strongest here. Labourier has a lot of charisma; too bad Rivette has her often just laughing directly into the camera.The characters in the "haunted house" are interesting. Marie-France Pisier is a favorite of mine, and she is very mysterious here.If the scenes didn't unfold so sluggishly, and if the narrative were tighter, I think it would have been great. Unfortunately, it is too much work to recommend.

It's a joy to try to put this movie in perspective, I think, because of how unique it really is. The closest I've come is to say "It's Wayne's World meets David Lynch but 20 years earlier." It's got the quirky clever fun of the former, and the dreamy eerieness of the latter.Well, let's stick to the facts for now. Inspired by "Alice's Adventures in Wonderland" as well as by the drug culture of its day, Rivette's "Celine and Julie" is a brisk romp with two girls as they meet and share an intense experience. I call the romp brisk even though the movie is 3 hours and 13 minutes long, because the casting, acting, script and direction are all so genius, that the time flies by. The story starts simply like a regular French drama and, then, because of the powerful characters (and daring actresses) we are following, it shifts into unexpected territory, and we feel as if we are on a thrilling ride as a participant in a new friendship. The girls may not be doing much physically, other than walk, talk eat, sing, laugh and trip out, but the plot is so cleverly written that somehow we find ourselves in a cabaret, and then an old English murder mystery!The whole treat of the movie is that it manages to be a Marx Brothers-style unpredictable comedy while still having all the richness and variety of emotions normally found in melodramas. It's as if the director doesn't believe in being pinned down definitely in any one genre. Also admirable is the fact that the complexities of the plot are achieved without any special effects at all and instead only by wit, precision, and good humor. It is obvious that the film team had a good time during the planning stage. For these reasons, the movie doesn't seem in danger of ever growing outdated. Far from it, it blows me away! It's one of the greatest buddy movies of all time. It's about a good time. It's about what movies should be! It's liberating. I guess, like any good magic show, it has to be seen to be believed.

As a teenager in the 1970s, I was a frequent visitor to an art gallery in Liverpool called the Open Eye. When they started a film club, promising to show all the stuff I had read about but would never otherwise get a chance to see, I signed up like a flash.It was a humble affair: a bare room with temporary blackouts on the windows, a makeshift screen at one end, a projector at t'other and a dozen or so ill-assorted chairs inbetween, but I loved it. For me it was a magic grotto: a portal to another place of endless fascination and discovery. It was here that I had my first exposure to the works of Buñuel, Renoir, Fritz Lang; Dziga Vertov's "Man With a Movie Camera"; the experimental shadowgraph animations of Man Ray; David Lynch's Eraserhead – and, unforgettably, "Céline et Julie vont en bateau".Even for one as keen on "Art" cinema as I was, Céline et Julie was a bit of a challenging prospect: a low-budget French thing about god-knows-what, by a director I'd never heard of, that we were warned would run over three hours without interval. Little did I know, as the opening credits rolled, that from then on time would mean nothing and I would be held captive; enthralled; the hours slipping by unheeded, as when dreaming.It is this quality that, for me, makes this film so special. European (especially French) cinema is full of works that lay claim to the label "Surrealist". I have to say that in my opinion most of them have little to do with the truly surreal at all. More often than not they are simply a cocktail of absurdism and social satire.Céline et Julie, on the other hand, is a genuinely surreal film – possibly the ONLY genuinely surreal film ever made (!) - insomuch that its narrative (and hence the experience of watching it unfold) is uncannily dreamlike. From the outset the viewer is drawn inexorably forward by a teasing sense of curiosity. Frequently along the way there seems to be far too much going on that is unexplained, and little hope of fitting it all together, yet one cannot help but remain in the story. In time, we become aware that our mixed sensations as viewer are mirroring those being experienced by Céline and Julie – and thus we find ourselves in that familiar condition of the dreamer: of being simultaneously both onlooker and protagonist in our own drama. Afterwards, I was left feeling curiously elated, yet struggling to recall its details with any precision. The impressions it had left behind were powerful and thought-provoking, yet intangible, and recalled but imperfectly, in the manner of one who has just awoken: with a frustrating uncertainty as to exactly what had occurred, to whom and in what order. Any attempt to explain it to a third party was equally doomed. Just as with a half-remembered dream, the very act of telling caused the peculiar para-logic of the narrative to disintegrate, and I'd be left speechless.It's been part of me ever since. Over the last 30-odd years, the themes and images of this film have, in the nicest possible way, haunted me: lurking in the shadows of consciousness, beyond the clumsy reach of rational query, quietly informing my imagination, to appear, unbidden, in subtle and unexpected ways in my own creative output.The whole strange business has been made all the more uncanny by the fact that, throughout those 30-odd years, the film itself has been lost to me. Having experienced it the once, I was never able to find Céline et Julie again, nor any reference to it, even in the pages of famously trusted and supposedly 'comprehensive' movie guides. Likewise, whenever I mentioned the film in conversation I could never come across anyone who had ever heard of it. Having worked its mischief, the contrary creature had melted back into the half-light, leaving no trace of its existence.Then, in October of 2006, a miracle: there it was, right in front of me, listed in the TV schedules! Film4 was showing it – at the suitably unconscious hour of 3am. Unwilling to risk losing it for another 30 years to the vagaries of my video recorder's dodgy timer, I sat up, my finger hovering nervously over the Record button...A few days later, having found an afternoon in which we were free of commitments, my partner and I settled in to watch it: she with some scepticism that she would be able to maintain her interest for the whole 3 hours, and me both a-quiver with anticipation and privately praying that, in the hard light of reality, this thing of treasured half-memory would not prove itself to be The Worst Load Of Pretentious Tripe Ever Made.I needn't have worried. No sooner had I hit "Play" than that fragrant, familiar magic began weaving itself all over again. I am delighted to report that Céline et Julie is just as powerful an experience now as it was in my youth.What I had forgotten, or perhaps never noticed at all on first viewing, was just what a rough-edged, homespun creature it is in technical terms. It was shot entirely on location, on 16mm and with a very small crew, and it shows. The soundtrack is patchy in places and frequently prey to whatever ambient sounds were present when the camera rolled (usually Parisian traffic noise). Now and then the acting is self-conscious, and some of the reaction shots are clumsily done. In the end, though, none of this matters a damn. Indeed, it is the film's very lack of studio polish that gives it much of its special flavour. Céline et Julie is an imperfect creation, but an honest one. It is also charming, playful and frequently hilarious. As such, I recommend it unreservedly.

Just saw this film again. It must have been 30 years ago (gulp!) that I saw it last but I had such fond memories I had to drive across Scotland to see it in the art house film theatre that was finally showing it again. The film quality was very suspect - it must have been the original film print (ie the one I saw 30 years ago!) or a very dodgy copy. However what a buzz to see the film again! Can't say I noticed the heavy lesbian overtones last time - must have been young and naive. The plot takes a while to settle down but once it decides it's going to be a ghost/lesbian/murder mystery/science fiction/comedy story (!!) it really gets going. As the ghosts in the house are locked in a daily loop, re-enacting the murder of the child, so we see at the end that the film is locked in a bigger loop, when Celine and Julie (finally in a boat) with the rescued girl find the ghosts have dragged them into a cycle where the whole film repeats. They thought they had rescued the girl and broken her out of the loop, only to find that there's no escape and they are all trapped in a bigger loop. But what is the meaning of the interchangeable roles? Celine pretends to be Julie and vice versa at one stage in the story. And in the re-loop of the film at the end we see that we start off with the girls swapping roles. Is it a piece of social comment? - we're all trapped in roles that we repeat every day and these roles are interchangeable, one is as trapped as any other? If life in the film is stuck going round and round forever, doomed to repeat the days of the film like some sort of broken record repeating a song (vinyl - the good old days) - is this the ultimate end of the world film?