User reviews

This one, however, is not for everyone. Most people will probably not only have trouble with its length, but its style, as well. Both as wild as it is imaginative, this film is like a post-modern jazz score, mixing elements from a variety of cinematic styles that are jarring (at times), but always interesting to behold. And as long as the film is, it always keeps moving and changing before our very eyes. What makes its odd stylistic combinations work is the compelling depths of its explorations into family and the bonds the unite, or divide us. Like and The Royal Tennenbaums, with a nouvelle vague twist, the film is not only full of odd combinations of image and music, but seems to jump from one film to another from scene to scene, as if each character or emotional quality (from light comedy to serious drama) were each receiving its own rendering. At times, the characters turn and speak directly to the camera. The filmmaker also intercedes by providing chapter headings and keyhole views, but, somehow, what could have become a cacophony of chaos, turns into a wonderment of cinema that any real cinephile will be amazed to behold and want to experience again....

An overly long and incredibly too talky dysfunctional family drama about a clan reuniting for one Christmas to see which if any family members will have bone marrow that's compatible with that of the matriarch, played by a chilly Catherine Deneuve. She's dying of a rare kind of cancer, and the spectre of that eventuality plus the proximity of brothers and sisters who haven't seen each other for a while and have scores to settle puts everyone in a reflective mood. Unfortunately for us, they stay in that mood for nearly three hours, and they talk and talk and talk endlessly about it.

There's far too much plot, some of it quite banal, some of it very interesting. The film is well executed and acted, but it's also distant and cold. I never felt vested in anything that happened to these people, and I greeted the ending with the curiosity of one who has spent a lot of time with something and simply wants to finish it rather than with any real concern for what the ending would be.

"A Christmas Tale" falls into the trap of too many family dysfunction dramas: We all have our own families to deal with in real life, so if we're going to spend 2-3 hours listening to the petty whining of someone else's, it better damn well be worth our time.

Grade: B

I got to hand it to the filmmaker, Arnaud Desplechin, at least on one significant point: A Christmas Tale is like a big book faithfully adapted to the screen, only in this case non-existent, and it has that wonderful if imperfect feeling of surrounding oneself with the world and atmosphere and attitudes of a family where the dysfunction runs deep and clear, emphasizing Tolstoy's classic "no one unhappy family is the same" credo. His film is also sometimes a big melodrama, folded around a cancer story not unlike a more serious (yet sometimes lighter version of) The Royal Tenenbaums, and centered so firmly around the family during that crazy but loving-despite-everything time of Christmas you'd swear Desplechin watched the first hour of Fanny & Alexander too many times to count.

At the same time A Christmas Tale in very much a French film, is attitude and approach to narrative and occasionally nearing that dreaded P-word (pretentious) in being 2 1/2 hours of incidents and confrontations and little details and twists. A lot happens with the Vuillard family over a few days, but in it uncovers a whole can of worms involving a banished son (Mathieu Amalric, who thankfully is maybe the centerpiece of the ensemble in terms of being the black sheep like Anne Hathaway in Rachel Getting Married), a depressed daughter (Anne Consigny who, despite being effective in a one-note performance, is also so shrill and cold as a character it's hard to feel anything for her, at all, despite her plight of losing her older brother as a child), and a cousin who has loved his cousin's wife ever since he got him, Ivan, the youngest Vuillard brother, to hook up with her so many years ago. Meanwhile, the mother (Catherine Deneuve, who may not exactly be a great actress but is the greatest living female French star which carries a lot of weight as a true beauty), has cancer, possibly terminal, unless a donor comes forward.

So there's a lot here to work with - maybe, perhaps, arguably too much, though it's almost a credit to the director that I can't say exactly what (little things, for example, like the Christmas Eve sex scene are deliberately paced but for good reason), and he laces everything with a curious jazz score throughout, sometimes to great effect and sometimes not. But, at the least, it's wonderful to see so many good actors in one place, particularly Amalric who is quickly becoming a truly fantastic talent with a lot of range in the work I've seen him in- one day he's a subdued intelligence man in Munich, next he's paralyzed except for one eye-blinking in Diving Bell, and even a 007 villain- and here goes further in a scene stealing performance (one such scene is his toast at the Christmas dinner, a scene actually shocking and hilarious and sad all in a thirty-second split).

He and Deneuve and the underrated Jean-Paul Roussillon as the husband of Junon almost make me want to rate the movie higher. But alas, it is what it is: a very strong take on a familiar subject - crazy and light and dark and tragic and unnerving times with a family at Christmas - and standing it on its head, while also the things I mention above. Did I mention it's French? 7.5/10

A plethora of awesome actors in perfect symbiosis, refined dialogues, a sense of humor very dark and even cynical, jubilant duels between brothers and sisters, a surrealistic conversation (a kind of 'I love you, neither do I') between a mother and her son, probabilistic calculations on life expectancy, ... It is a real delight but definitely not a Christmas tale. I loved this atypical, dysfunctional and weird family!

It just doesn't get much better than this for fans of movie-making…or fans of music, art, literature, philosophy…even algebra? Arnaud Desplechin uses Robert Altman's impressionistic approach to film-making taking multiple characters, plots lines then adding Altman's playfulness with cinematic technique to dazzle the viewer with a rich mix of ideas and allusions. Watching, you just don't want it to end.

The actors here—as in Altman—take center stage. Catherine Deneuve is the reluctant matriarch of some pretty messed-up siblings. We aren't ever clued in on the exact details of the rifts and jealousies. We just recognize them from our own family experiences. During an introduction to the cast of characters at the beginning of the film, the death of a young infant early in the family's history suggests that interpersonal problems will result, but it can't be the sole reason for the pathologies represented. As in life, it's never a simple thing to find the "reason" for conflict, unhappiness or even joy. We simply have to accept it and make the best of the situations before us. And this film is a wonderful demonstration of making the best of a real mess.

There's not a weak link in the cast. And as the bizarre begin to assemble for a very strange Christmas homecoming the delight we feel for being onlookers instead of participants is palpable in the audience.

I should warn that this is not a film in the tradition of "Home Alone" or "A Christmas Story." You may wait a long time for the Baby Jesus to arrive here (as the children on the screen do). It's more a film about family life and the peculiar kind of fulfillment we get from the strife that results. As with the "ghost wolf" in this family's basement, we're haunted by the familiar and the strange: it's both fearful and thrilling to see. And that's a very admirable accomplishment for Arnaud Desplechin.

A long drawn-out tale of a father bringing his dysfunctional family together at Christmas after Mom is diagnosed with a rare form of cancer. The actors are in fine form, and the situations are realistic, but there is scene after scene of bones to pick, icy silence, and family members constantly telling each other (over and over) how much they like don't them. In addition, all of the characters have individual scenes with each other: mother and son, mother and daughter, mother and son's girlfriend, father and cousin, father and daughter, grandson and.... etc., etc., etc. I had some head-scratching moments too where major insults and fights in which I expected a full dramatic blow-up were met with a smirk or complete indifference. If it were slashed in half, (well, at least by a third), this film could have been just as effective.

I can't say I'm a huge fan of Arnaud Despleshin's films, but of all the ones I've seen, this is my favorite. The first few scenes of the movie, with its flashbacks and quick cuts seem disjointed at first, but it does really quickly pull you into the family situation. And when the family does finally arrive altogether at the Vuillard house, you almost feel as if you're one of the guests. All the actors are wonderful, but I must say that Amalric, who almost always plays this type of character in Despleshin films (Kings and Queen, My Sex Life, etc.) is terrific in this film. He's much more likable here. And Emmanuelle Devos has such presence in this movie that she steals pretty much every scene she's in. The rest of the cast, Deneuve, Rousillion and Cosigny are all terrific.

I love how the script deals with so many subjects, not only of the family history and Junon's need for a donor, but also touches on everything from mathematics to philosophy to literature, to all types of music, religion, and all geared towards how all these things enhance, and does not consume, the life of the family. It was very refreshing to see this family, although messed up in so many ways, to live free of convention, children curse, everyone's smoking and/or drinking, telling each other what they really feel and think and/or not feel and think. I also liked that the house felt like a house that people actually lived in.

After his impressing "Kings and queen" in 2004, Arnaud Desplechin proves that he's the best director come out from France in the last two decades with this exhilarating, moving, awfully brilliant "A Christmas tale". Following the path of its previous feature, the movie mixtures very hard scenes of desperation and hatred feelings with moments of absurd joy in an structure full of elliptical jumps from the past to the present and back again to the memories of another time. There's nothing new in his cinema and this is perhaps the only problem, that everything is well known yet; this is the first time that happens and today i think i have enjoyed very much the film but maybe it's time to spin around again and cut across another new ground. Desplechin knows the way.

Today is Christmas Day, so it is the most apposite time to watch this French drama, rife with cancer, marrow transplant, siblings rivalry, unstable mentality, chronic depression, familial incest and distant mother-child relationship, very Christmasy!

A follow-up of KINGS & QUEEN (2004, 6/10), French art house director Arnaud Desplechin concocts a fine potpourri of familial entanglements around the bourgeois Vuillard family, opens with a consequential animated preamble of the loss of their eldest son Joseph at the age of 6 due to a hereditary blood disease while no compatible marrow transplant is found in both parents, the daughter Elizabeth (Consigny) and the second son Henri (Amalric), who is conceived to offer a cure to his elder brother. But time goes on, a third son Ivan (Poupaud) is born, and now they are all grown-ups, then the matriarch Junon (Denueve) discovers that she suffers from the same disease, the only compatible donors are Henri and Elizabeth's son Paul (Berling), hence this Christmas, a family reunion is endowed with a more grave determinant, especially for the black sheep in the family Henri, after a 6-year banishment (due to an unspecified riff with Elizabeth), his return with his new Jewish girlfriend Faunia (Devos) will undoubtedly thrust the tension with Elizabeth's family and have an impact on Junon's final resolve to her impending treatment.

Screen time is almost equally allotted to the all-star cast with their own stories intermingle in a short span of the time-line, although the main stream focuses on Henri and Junon's reconciliation, but it is not a beatific movie to bury the hatchet and embrace a pristine future, every family has its distinctive script written with plenitude of relatable interactions, notably, the mutual attraction between Ivan's wife Sylvia (played by Chiara Mastroianni, Denueve's real life daughter with Marcello Mastroianni) and Ivan's cousin Simon (Capelluto) clicks wonderfully in the latter part of the film, it is very French as well, for moralistic puritans and prudes, it is a sheer crevice in their convictions which will prompt harsh opprobrium.

One trait of superfluity is the chunk of monologues, colloquies with staccato coherence, loose ends are all over the place, we can never decipher the real motivations and reasons behind certain behaviors which adhere to a particular terrain of mores; also the peephole shots introduces each chapter gives the film a stage structure and the occasional talk-to-the-camera shtick often comes out of nowhere, they may variegate the viewers' recipiency but are inconsistent in the plot development and engender some distractions hinder the appreciation.

Amalric and Mastroianni are my pick among the ensemble, he is a true thespian with utter devotion while she bears her father's resemblance and an arresting existence whenever she is on screen. Devos is enjoyable as an unobtrusive intruder (reminds me to watch an Angela Basset film), Denueve is as distant as always, graceful but stereotyped, Poupaud is too damn good- looking for his shyness and benevolence and Consigny is perpetually frowned and distressed, enclosed in her own little world, one might feel too depressed to invest in her.

In conclusion, it is not your average Christmas flick, but a less chic showpiece about kindred liaisons than Assayas' SUMMER HOURS (2008, 8/10).

This film promised a lot, so many beautiful and well playing actors but with a plot that had virtually NOTHING to say. So many potentially promising conflicts between the family members that could have been developed and elaborated but it was all dropped and not taken care of. There was no story to be told, just a show off of acting, technique, beautiful scenes - that were all EMPTY. But again, the acting was excellent so many of the individual scenes were entertaining, but as you became increasingly aware of the lack of underpinning ideas, even the acting lost its sense. So from the promising start you became increasingly disappointed as the non-story went along.

This is an extremely dysfunctional family. Everybody seems to be aware of their part in it and don't really care.

The great engine is the alcoholic son, who provokes everyone. One tool is the fact that his mother's got cancer and he and his nephew are the only one who can save her. The alcoholic uses it for attacks on the family and not at least the mother. And the characters are forced to develop, not necessarily for the better.

The humor keeps you interested in this chamber play and the 145 minutes never feel long. A quite French movie, but fully appreciable for all of us. A Christmas tale which is both dark and light.

A Christmas Tale has been booked as an extremely unconventional holiday film from most major reviewers. This is a selling point-the film is a "true" examination of the holidays that offers no traditional entry and exit. It's the direct contrast of Four Christmases and at least one reviewer pondered "If only American Christmas films could be like this one..." Certainly, A Christmas Tale is unconventional, using Wes Anderson-like bookmark introductions as an omniscient narrator dictates the various children's upbringing. Scenes suddenly cut off in the middle or change. Things are never really explained. Two characters have a major feud between them but the origins are never quite described.

This lack of knowledge and unpredictability gives A Christmas Tale an almost luminous ambiance. The film doesn't really move forward so much as float. Characters self-consciously talk about their own trappings in a theatrical way or muse about an event the audience was never privy too. It feels like the viewer is spying on this family, not in a Hitchcockian sense, but more as a privileged member. And although all of these distinctive attributes distinguish the film from more generic fare, it doesn't honestly add much. There is little emotional investment in the characters or their struggles, even though so much of the film depends on a sympathetic audience. The happy moments or the sad ones seem to do little to really effect anyone because such little is known about these people. The film feels airy and faint but it only lessens the impact.

One wonders why this approach was chosen. Perhaps to get the audience to feel instead of think. It doesn't seem like A Christmas Tale really wants to offer something different, as primed by others. Instead the filmmakers simply want to tell a story that transports the audience to France. They want the viewer to invest in these characters struggles and feel for them. But the film is loaded with such sudden and copious amounts of joy and the usual suspects- a scruffy but loving husband, a stern but fair mother, the black sheep who doesn't understand, the loving husband who doesn't complain, the adolescent child who is trying to find his place... the list goes on. But what's the significance? Where's the punch? What's the so what?

It's difficult to recommend this film even though the rating may not seem terrible. "Worth watching" is difficult to categorize in this place because the film feels like a continuation of this director's style but I know very little about his prior works. Check it out but don't expect much and you may be pleasantly surprised.

Started thinking about 20 minutes in, "when is it all going to come together with some semblance of cohesion and interest?" To me it never did, and was an overlong borefest throughout, with very short takes leading to other very short takes that never got my interest for any.

Never saw any family act the harsh way toward each other that this one did, or talk to each other so carelessly without more mayhem being caused by it than this one did, or showed less love and care for each family member than this one did, even with the mother dying!

Why was this kind of labored film supposed to be the right one to show at Christmas? Maybe Labor Day instead? I sure labored through it unwillingly, and it was sooooo long. And, I love French films! See Cache, For the Love of Others or Amelie instead for great French films, and not this piece of pretty junk.

I was not crazy about this at first. Oh heavens, thought I, a soapy French dramedy about a troubled bourgeois family that is gathering for their first Christmas together in years. And it is that, but as I watched, it grew on me. It is a Christmas tale for the 21st century, full of neurosis, but also laughter, emotion, and energy. There are fine performances and charming scenes. Not all of the casting choices are great, especially Roussillon as the paterfamilias; he seems more like an old comic actor than the businessman husband of Catherine Deneuve. The film often seems to be trying too hard to grab and hold the viewer's attention, but it does succeed.

When the Vuillard family comes back from church, on Christmas eve's day, they suddenly realize that Simon the painter is missing. Father Vuillard suggests that his children go to search him, because he has an inclination to drink and gets easily into fights. Since Ivan's wife does not want to go, his former lover Elizabeth goes. Driven by a woman's infallible instinct, she finds Simon immediately in one of those rare bars that are open at that time in Paris, the owner and the guests being mainly Muslims for whom there is no reason to close up during the Christian holidays. And now there comes one of the most wonderful scenes between man and woman in the history of movies: He has already "piccolé" as the French say (is pretty intoxicated) when Elizabeth sits to him at the bar. Simon is just going to order another beer with "side-kick" (probably Wodka), and Elisabeth says first: Do you not think you had already enough for today? - He answers: This is none of your business. There she responds: Well, I am feeling in the same mood as you do and therefore drink the same as you drink. So, there are sitting until almost 4 o' clock in the morning in the little bar and are drinking beer and Wodka, having wonderful discussions because soon, they are on the same "level", and, on top of all, they are even going to get reconciled letting passing revue what went wrong in their common past, and we hear out of Simon's, and soon also out of Elisabeth's mouth some of the most astonishing confessions that they would probably never have been able to utter in any other environment (there is a joke in French between "s'enivrer" = getting drunk and "environment").

In Douglas Sirk's "Written on the wind", there is a similar scene between Robert Stack and Lauren Bacall. Robert escapes a family ceremony and goes boozing in his favorite restaurant, Lauren follows him. But unlike the scene in Desplechin's movie, the confrontation between the two marks only the definite end in their mutual understanding. Rainer Werner Fassbinder, in a book-fragment on Sirk's work, wrote: "Robert starts again to drink. Now, it shows that Lauren Bacall has no solutions for her husband. Instead of going to booze together with him, instead of trying to understand some bits of his grief, she gets more and more pure and causes one more and more to throw up" (translated by the present author from: R.W. Fassbinder, Filme Befreien Den Kopf. Frankfurt am Main 1984, p. 16).

Another wonderful example of women-power happens between Faunia (Emmanuelle Devos) and Henry (Mathieu Amalric) who plays her lover. Henry, being a drinker, lets himself provoke to analyze the miserable situation of their dysfunctional family in an extremely theatric way attacking directly the husband of one of his sisters who sits besides him. After he is knocked down by this husband and lies on the soil, Faunia seems to be amused by not startled at all about this situation. When he gets on his feet again he throws her his car-keys on the table and says that she has come in the wrong moment to meet his family and that he wants her to "scram". But she sets up one of her absolutely disarming smiles, shoots him with a short but highly intellectual comment and asks him if this would not be nice of him to bring her now a coffee. Henry's face looks like a tank was driven over it.

Arnaud Desplechin's movies are as far away from everything that is produced by or imitated from Hollywood as they can be. They are symphonies of style where the rhythm seems to tell the different interwoven stories rather than they are connected by an inner succession. This film consists practically exclusively of a super-all-star cast of the most famous still living French actors. A true highlight.

I thought that this was a tight film, with fine performances. The fact that I couldn't stand any of the self-righteous jerks that permeate it didn't really distract from it. I learned a long time ago that films can have weak and even evil figures who are still really interesting. This family has done so much harm to its members that nothing is really going to repair it. The figure we care the most about has a death sentence She sets things in motion, but has no motivation other than that. The dysfunctional bunch clashes and bumps and sobs and carries on and the chips are still falling. The free spirit who has been thrown out of the family, basically, is the one who manages to eventually leave unscathed, but how he gets there is through his own general disinterest and insensitivity. Yet we do admire his spirit. The fact that it is Christmas does nothing other than force people together. See this if you don't mind feeling kind of bad afterward.

Tedium as only the French can do it. I checked my watch for the first time 7 minutes in, and with 143 minutes left, I also considered walking out. I won't even try to discuss the incoherence of the "plot" or the inability of the characters to be personable because at about 1 hour in, I realized none of this mattered. It was not merely self-indulgent or pretentious, it was a vacuum. A soul-sucking vacuum. This film has no saving grace, no enjoyable character, nothing funny, and nothing sad. It isn't smart enough to be drama and there's no moment that's in the slightest bit farcical. The most intriguing thing about this movie is how it has managed to get mostly glowing and positive reviews. I was tricked by those reviews, but you don't have to be, gentle reader. All I want for Christmas is my three hours back.

'Un Conte 'de Noel',or as it's being distributed in the U.S.A. as 'A Christmas Tale' is a very well written,directed & acted out drama, with some minor touches of comedy,but is NOT a all out comedy as it is being touted in the somewhat misleading trailer for the film. It is a tale of a highly dysfunctional French upper middle class family with enough head cases to keep any psychologist/analyst rolling in Euros for a life time. The cast is headed by a radiant Catherine Denuve (as usual)as the head of the household,who has just found out she has a potentially fatal form of bone cancer,and only a bone marrow transplant from a family member may be the only saving grace for her. The only problem: most of her children royally hate one another. The possibilities for a family reunion at Christmas only makes for a possible meltdown. The screenplay may remind one of elements of James Joyce,as well as Antonin Chekov (especially the use of metaphors,such as the occasional use of traditional Irish music on the soundtrack,as well as one of the characters who is ironically named Ivan. The film's rather long running time (two & a half hours)may remind one of certain stage plays by Irish playwright,Brian Freil (but there isn't a slack moment in the entire film---at least I didn't think so). This is a smart,cutting film that is worth seeking out. As this is an import,and is being carried by a small,independent distributor,there is no MPAA rating, but would fare little more than an PG-13 for a bit of raunchy language,some adult situations & a rather uncomfortable scene in a hospital,involving a bone marrow transplant. You may want to think twice about bringing young children (who would probably be bored with reading English subtitles,anyway)

What a waste of great acting talent. This is a shame because with Catherine Deneuve, Mathieu Amalric, Emmanuelle Devos, Chiara Mastroianni, and Melvil Poupaud (not to mention others less well known in America) that's a lot of acting talent to waste. This film by Arnaud Desplech was a terrible disappointment. After having enjoyed his "Kings and Queens" and this film left me completely bored and frustrated to the point where I actually left before the movie ended. The movie wandered around its central storyline (involving Catherine Deneuve's illness) getting sidetracked by every peripheral storyline and supporting character that appeared on screen. The movie also gave us too little character development to understand why the different characters disliked each other so much (this was a story of family dysfunction) so that the dearth of coherent narrative became even more critical. Finally, the soundtrack (which ranged from hip hop to Bach to Mendelhson's Midsummer Night's Dream) was at odds with the emotional temperature of the movie and further obscured any emotion the viewer should have been feeling at the time. The photography (the director often began scenes with a mainly dark screen, where our only sight is through a small opening, making feel as if we are watching through a peephole, that then expands) was also pretentious and inscrutable.

The film deals with death, but not in a morbid way. One of the queerest scenes involved Abel (Jean-Paul Roussillon), Junon Vuillard's (Catherine Deneuve) husband, and Claude (Hippolyte Girardot), working the statistical chances of survival and the time left if Junon chose to have or not have a bone marrow transplant for her cancer. This is not something I could ever imagine happening anywhere else.

Junon was so cool about the whole thing that you never really thought about the fact that she was dying.

The entire family, sons and daughters, nieces and nephews, girlfriends, and others arrive at the family house to celebrate Christmas, each with their own funny and not-so-funny issues.

The main issue working throughout the entire film is between brother and sister, Henri (Mathieu Amalric) and Elizabeth (Anne Consigny). Both actors were brilliant, and I am still not totally sure of the issues.

There were other issues going on, and they are way too numerous to mention. The film deals with family and repentance, and forgiveness, among other issues.

Arnaud Desplechin works like no other director I have seen and, while it may be distracting at times, it is never boring. The two and a half hours fly by.

The children's Christmas play was hilarious, and dealt with the same themes.

This was definitely one of the best films of 2008.

It delivers on the black but not much on the comedy, yet A CHRISTMAS TALE is a beautiful tale of familial dysfunction, lifelong struggle, and redemption for even the worst. It was far longer than it deserved, but it was still well-made and moving. It's a dysfunctional film about a dysfunctional family.

Big, comfortable house in the provincial French town, white Christmas, family get-together. But, Vuillards are not an ordinary family. The iron willed mother is fighting cancer, but this is not a sentimental story. Bottled up emotions, seething resentments, unresolved issues. And it all explodes in three turbulent days. Cold mother, dotting father that keeps everything together, and four kids, ever present long gone Joseph(died of cancer as a child), Elizabeth( successful playwright, but deeply unhappy), Paul (the proverbial black sheep ,drinks too much to want to control himself), and the youngest Ivan, (handsome, but timid with the history of mental troubles). And there they go, with rituals, carols, Christmas movies, and rivers of booze, never really connecting. And in all of this lunacy there is an undertone of devotion and twisted loyalty. The ever so familiar story of families. The crippling inability to escape where it all started, the place that made us, the people who know us and can't be deceived. So, we come back drawn by the magnet of family bliss, only to be quickly reminded why we left in a first place. Smart, beautiful movie for patient movie lovers.