Amateur movie with Big budget

It’s fine. It's literally the definition of a fine movie. You’ve seen it before, you know every beat and outcome before the characters even do. Only question is how much escapism you’re looking for.

I didn’t really have many expectations going into the movie (good or bad), but I actually really enjoyed it. I really liked the characters and the banter between them.

This movie feels like it was made purely to piss off people who want good shows

I'm not sure why this movie garnered such hostile reviews on here. I gather it was assigned in some class and that the students did not like it. I also gather that it was presented with a Marxist perspective, which is unfortunate.This movie doesn't have much in the way of social commentary. It is the unremarkable story of a group of individuals in a poor neighborhood in Marseilles. They are all basically likable, which works for awhile. By the second half of the movie, though, there don't seem to be enough ideas to justify going on. The ending seems like a made-for-TV movie.Not a movie worth going out of your way for. Pleasant, but, I suspect, at least for me, almost instantly forgettable.

The film being a HSC study text probably doesn't help its cause, but soon after I starting watching I was wishing the board of studies had chosen a more entertaining text.The "action" (if the cinematic ramblings of a nostalgic director can be labelled as such) takes place in the working class suburb of l'Estaque in the south of France. The plot is simple - the titular characters fall in love, clichéd plot devices pull them apart, before getting back together for a feel-good ending. All wonderfully bland and formulaic.The only difference here is that there is a variety of interesting (but pointless) side-characters and subplots around them, sometimes genuinely good as individual scenes but always jarringly disjointed.And here is the film's main fault: there is a lot of potential within the quirky neighbours, but they are reduced to little more than unrelated vignettes that simply distract from the main story.By themselves, unrelated vignettes would have been fine - as would a bland romance.But by mixing the two, director Robert Gediguian creates an unappetising sludge that is messy, meandering and boring - a crime with such potentially interesting characters to explore.

This film is how life should be portrayed. Those raised on a diet of Hollywood love stories where everyone has a new car, large house and unfeasibly white teeth will find this slice of Gallic realism a bit overpowering. Those of us who prefer our cinema with a bit of bite can appreciate the predicament the two leading characters are in and we can rally for them. A honest heartwarming film that moves at a slow pace (but then who meets a girl, falls in love, befriends her children and lives happily ever after in 97 minutes. I was lucky enough to buy this as a withdrawn VHS from my local library and I prize it as one of the 'top drawer' films in my film collection.

To set a film in and/or around Marseilles and name one of the two eponymous characters Marius is to invite direct comparison with the great Marcel Pagnol and his own great trilogy Marius, Fanny and Cesar (now available as a boxed set from FNAC and though expensive a 'must' for any serious film buff) and without seeing the film the feeling is that Guediguian is either throwing down the gauntlet or paying homage to Pagnol. After seeing the film it is evident that the latter obtains.This was probably the first Guediguian entry - all top-billing his wonderful wife Ariane Ascaride and all set in/around Marseilles - to reach an international audience and what a way to start. You may balk at this director's obsession with downtrodden workers and bloated capitalists but he does have the good sense and/or decency to sugar the pill with an unforgettable love story - indeed it could be subtitled ironically Love Among The Ruins as the protagonists meet in the ruins of a cement works where Marius is employed as a watchman and Jeannette attempts to steal some paint. In an attempt at symmetry there are three couples involved - with the exception of Marius they are neighbors in a shabby project and when I say that one of them is the great Jean-Pierre Darroussin hip movie-goers will need no more prompting to check this one out. Not that Marius in the shape of Gerard Meylan is any slouch if anybody asks you, in fact this trio comprised the menage a trois in Guediguian's last release (two more are in post-production as I write) Marie-Jo And Her Two Loves, and though Darroussin is very much a supporting player here he makes his presence felt. It is impossible to overpraise this movie. I caught it on its initial release and was overwhelmed, I've just purchased my own copy and if anything it is better on a second viewing and will still be giving pleasure long after this season's popcorn specials have faded from the mindless audiences memory banks. 9/10