Everything works for me: the constant struggle between the line of parody of the genre and serious tone, the theatrical staging, and especially all the little touches that no movies use any more (Cigarette holders! A literal French maid! Ending with a "Fin."!)

The best France has to offer! Ozons bow to the divas, Sirk and the (then) up-and-comming starlets. They dance! They sing! They kiss! What more can a cinephile wish for?

Odd musical murder mystery, elegantly directed. The eight actresses are all wonderful.

Adorable to watch. The theatrical staging made it even more entertaining.

The deliberate staginess and theatricality -- it was adapted from a forgotten play by Thomas -- recall Alain Resnais's _Mélo_ and _Smoking/No Smoking_, and the intermittent outbursts of song recall that same director's _Life Is a Bed of Roses_ and _Same Old Song_. But Resnais, who always has more layers than a napoleon, was up to a good deal more in those films than just a campy celebration, a fluttering appreciation, of a Gallic gallery of screen divas and their arsenal of artifice.

"Light-hearted and droll - even if you think you don't like 'French' films, you'll adore this one."

"But while he reduces them to moving Barbie dolls, Ozon clearly loves his women. Or, as much as a catty drag queen can." - Ed Gonzalez

Gloriously entertaining mystery/musical spoof, filtered through Douglas Sirk sensibilities (in French no less!) may not add up to much, but gives every member of its hand-picked cast licence to have fun, throwing in garishly overdone sets and luscious costuming. Huppert and Deneuve are both terrific, but Ardant's deliciously bitchy character trumps them both. Again, it may strike many as much ado about much ado, but it always remains highly entertaining. Musical numbers are a scream!

François Ozon's weird, over-the-top film about eight women and a load of secrets is hyperbolic, unbelievable and sometimes even boring. The centric mystery is not interesting at all -however, some (or several) inspired quotes, great tunes and an all-star French cast almost outweigh the film's many flaws.

It has a well-structured mystery and the female cream of French cinema in first-class acting. Hypocrisy, selfishness and exploitation are given a kick in the ass. It's marvellous technically, with fantastic sets and costumes, a good soundtrack and an unbelieavable finale. And it's not elemenatary, Watson. A theatrical performance in the luxury of your living room. What else could you ask for?

#, hype, Emmanuelle Beart