Stale and boring.

"So soon after Deneuve and Depardieu's sublime work in André Téchiné's Changing Times, Ozon's froth looks especially trivial." - Bill Weber

The movie is charming and delightful with a very simple story. The acting, story and script fits perfectly. The movie feels 70ish and presents some of the then stereotypes. A good entertaining movie.

Easy going and entertaining.

A pastiche of '70s melodrama that retains only the more tiring aspects of the genre. Hard to truly dislike: Deneuve and Depardieu are always enjoyable and everything looks pretty, but the plot is paper thin and the jokes are rarely funny.

23 may 2011, beyoglu sinemasi, baris ile & fazla feminist. erkekler hep beceriksiz, aptal. kadinlar ise kendi zincirlerinden kurtulduktan sonra her turlu potansiyeli icinde tasiyan varliklar. bu rahatsiz edici, tek tarafli gorusu sevmedim. kimbilir, belki de sinema dunyasinda surekli tam tersini izleme durumunda kalmis olmamizdan kaynaklanan bir rahatsizlik bu..

Delightful and hilarious over the top satire that shamelessly presents a handful of stereotypes as its main characters in a beautifully crafted environment.

It's another signpost on Ozon's apprenticeship toward cinema mastery.

being harmless is better then being armless

Feydeau would be proud...

The pastiche and satire is sugarcoated and superficial rather than sharp, but nevertheless entertaining as a vehicle for yet another Deneuve tour de force.

I think I missed a lot of the in-jokes and references in this - I didn't live in France in the seventies - and the I found this too close to the melodramatic farces it was satirizing. Still, Deneuve is good.

Potiche is not a great film -- just a contained satire --, but is charming, elegant in its style -- Ozon uses close-ups as if he were shooting a 1970s feature -- and with some bright comedy.

Very strong first act with the film hitting all the right notes of pastiche, bourgeois melodrama and comedy. A very refreshing half hour of cinema. The story then developed reasonably well. Nice use of flashbacks. Deneuve gave a good performance; Lucchini and Viard were better. Towards the 2/3 point the script lost the plot and took the wrong direction, leading to a disappointing ending. Ozon has a lot of ideas that work but never seems able to deliver the full package without self-sabotaging.

Ozon writes himself into the post-modern film-history as one of the most daring directors, aesthetically and thematically with this tribute to 70's kitsch. The writing is witty, great performances, Deneuve especially.