He Loves Me… He Loves Me Not (2003)

Good movie but grossly overrated

Pretty good movie overall. First half was nothing special but it got better as it went along.

I cannot think of one single thing that I would change about this film. The acting is incomparable, the directing deft, and the writing poignantly brilliant.

A great movie, one of the best of this year. There was a bit of confusion at one point in the plot, but nothing serious.

We watched this film today in a French lesson and the whole class was hooked. A bunch of fifteen year old boys and girls sat totally enthralled by this movie. They even stayed in over their break to watch the end. So many turns and surprises and shocks! Gripping and shocking right until the very last second. Everyone was extremely shocked.A very very entertaining watch. The kids were extremely pleased and satisfied to solve the mysteries just as they were revealed on screen and were even more amazed when something totally unexpected happened! With fabulous actors and the beautiful and AMAZING Audrey Tautou!

I selected this movie on Netflix, thinking that it was going to be a romantic comedy. What I found was so much more. Audrey Tautou is amazing in the role of the love-obsessed, doe-eyed Angelique. She's incredibly endearing and as the story unfolds, you find yourself still rooting for this poor, damaged girl. Many people compare this movie with the likes of Amelie and Run, Lola, Run (both movies are cinematic gems) but I disagree. This movie completely stands alone. It's a sweet, intricate, and darkly witty movie that makes Fatal Attraction seem like a Happy Madison Production.Not your traditional love story. The plot was delicate, dangerous, and definitely unsuspected. Though not a quite comedy, you will find yourself smiling. This movie is severely underrated, and a must see.

This is a film for Audrey Tatou's fans.The young directress, from "Mes stars et moi" does very feminine films, not in the best sense. Perfect setting, chic everything, Art is all around, romance is all that matters, nutty, hysterical women, catchy pop tunes... Tatou does Angelique, but supposedly "mad" now. As she's not convincing at all, the movie falters.Beautiful Isabelle Carré, who starred "Maman est folle" and played the little girl in the gifted "Les enfants du marais", plays the doctor's wife, a character which never really leaves ground. Interestingly enough, she starred "Anna O." where she's, guess what, a loner who becomes in mad love with her doctor. ...Clément Sibony, who starred "l'envol" with Isabelle, is reportedly pretty handsome according to my female company while watching the film. He's very convincing in an unconvincing role. Nice Élodie Navarre, from Reporters (TV) and Love, etc. is wasted here, her character suddenly gains importance, for then disappearing. Héloïse's character is insipid, which is a pity for it probably was supposed to serve as counterbalance to Angélique, but goes off the story at the time it should be more present, that is, in the last 1/3rd of the movie.I've been told from a reputable cinema buff this film is a rip-off from "Fatal attraction" and the less obvious "The Crush (1993)" starring Alicia Silverstone as a 14 year old, the same mental age than Ángelique.I never understood the genre of the film. Creative Amazon reviewer Simon (ON) writes "romantic thriller" which is probably even right, although it proves that him as well as other reviewers can be more intelligent than the film itself.

He Loves Me, He Loves Me Not (2002) - which is a not entirely accurate interpretation of the original French title "À la folie... pas du tout", but regardless, is one that does an adequate job of developing the film's narrative preoccupations and central game within the structure - is an enjoyable film that works, despite the limitations of its obvious gimmick. Clearly, this isn't the first time that a filmmaker has played with the idea of a shifting narrative perspective - with one of the earliest examples being Akira Kurosawa's historical masterpiece Rashomon (1950) - but regardless of a sense of "been there, done that", the film remains fresh enough to succeed and reward the audience, even with the benefit of repeated viewings. Much of the success of the film is down to the mood that is established in the first half of the film, the subtlety of the performances and the ironic appearance of Audrey Tautou, then fresh from the success of Jean-Pierre Jeunet's frothy modern-day fantasy Amélie (2001).Unsurprisingly, director Laetitia Colombani seems desperate to tap into the style and iconography of Jeunet's film, with the full-colour wonder of Bordeaux seeming like a candy-striped fantasia here; with the lush pastels, giddy camera movements and a larger than life approach to the character and the psychological world that they seemingly inhabit. This is directing at its absolute richest, with the lack of any kind of obvious delicacy and the particular use of design and mise-en-scene creating just the right mood of fantastical abstraction for the eventual shift in tone to take effect.Tautou's performance as the seemingly bright and breezy Angélique - her name, yet another delicious pun on her very angle-like appearance in the context of Amélie - is much more intelligent and demanding than the earlier scenes of the film might suggest; with Tautou having to walk a delicate line between beguiling innocence and adorable charm, with the much more dangerous and obsessive qualities that ultimately make her character detestable and entirely unsympathetic. The switch in tone is seen inverted somewhat by the performance of Samuel Le Bihan as the object of her affections; beginning the film as a cold and immediately dislikeable character and ending it as a sympathetic hero. His performance is perhaps even more subtle than Tautou's, with the success of the film relying heavily on his ability to occupy two completely different stands of narrative simultaneously, while at the same time, still leaving us guessing as to the intentions of his character.As a result, the film manages to succeed on a number of levels; as a light-hearted rom-com, a dark psychological study, and a twisted thriller all jostling for our attention simultaneously. As the perspective switches back and forth the real games within the narrative become clear and the allusions to the title begin to make sense. I wouldn't go so far as to call it a masterpiece, as there are some obvious minor flaws... chiefly, the later portrayal of Angélique as she eventually becomes the most hateful of characters. The final scene also leaves something of a bitter aftertaste, though it is clever and definitely works within the context of the rest of the film's dark, ironic humour.Regardless of these slight issues, He Loves Me, He Loves Me Not is a rich and imaginative film that presents a story that could have quite easily become a hopeless cliché as something that is instead much more fun and delightfully eccentric. The central performances from Tautou and Le Bihan anchor both sides of the story, while there is fine support from Isabelle Carré, Clément Sibony and Sophie Guillemin, who each have to act and react in different ways to the ever shifting narrative. You can see it as a novelty if you like. Certainly, as I stated above, the central experiment with the narrative is something of a gimmick, but I feel that the film as a complete piece of work more than overcomes any such minor shortcomings. Take it for what it is and the film will reward... i.e. an enjoyable and sometimes shocking work, designed to entertain and engage on some vaguely thought-provoking level.