Baseshment I like movies that are aware of what they are selling... without [any] greater aspirations than to make people laugh and that's it.

Zandra The movie turns out to be a little better than the average. Starting from a romantic formula often seen in the cinema, it ends in the most predictable (and somewhat bland) way.

Philippa All of these films share one commonality, that being a kind of emotional center that humanizes a cast of monsters.

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

targa9 What an insult to sit through this movie of a stalker's wet dream, about a sexist old creepy man whose prey inexplicably throws herself at him, as does her beautiful best friend, while he is married to a gorgeous woman decades younger than he! Many reviewers have mentioned the sheer absurdity of being married for 30 years to a wife that looks to be 40, as well as this said wife happily inviting the unlikely paramours of her creepy psychotic husband into her house, and he, looking like death warmed-over, enters as if he was Elvis Presley, groupies in tow. We are either to believe this absurdity, or say "this is not real". Which brings most artsy-fartsy reviewers to conclude that, hey, this must be psychological and not real, because otherwise it's too stupid--and so we are supposed to accept the absurd and surreality of it all. But when you make a film that purports to tell a story, and you just shuffle the characters around in some symbolic way, randomly, intending to make some psychological, symbolic points, that's just a muddled vision, not even trying to communicate with the viewer or touch them in any way; it's not a vision of clarity, wit, absurdity, or real symbolism. You can tell the pretentious movie reviewers who also don't understand this film because:a)they spend a lot of time discussing the director, Flaubert, and external literary theory b) they do not attempt to make any interpretation of the film, which would be welcomed by the rest of us who "just didn't get it" c) they gush over the beautiful cinematography (which wasn't all that)I don't care if Resnais is a legend (I vaguely remember seeing Last Year at Marienbad back in art school); I found this film to be just a dreadful, nonsensical (and sexist) excrescence.

Syl I don't know much about French film director, Alain Resnais, until now. This film is strange to say the least. I bought the French films when the video store closed. I have spent this summer catching up on DVDs and videos in hopes of cleaning up my collection. This film is about two people, Georges, and Marguerite. By chance, Georges finds her red wallet and returns it to the police. The red wallet symbolizes Marguerite's life and identity. Both are unhappy with their lives. They find something in each other. Marguerite has red hair and it sticks out just like her red wallet. Georges is married for a long time to his wife. Their interaction is more like a partnership. The ending is abstract, strange, and ambiguous. The film has its moments. The actors are great.

pvanemmerik Just as I found myself almost unbearably bored by the tedious, repetition and predictability of the movie "Ice Age 4: Continental Drift" (I had to sacrifice some time for my 10 year old son), some of the reviewers here had the same reaction to this film. There is really no point to review a film such as this one, if you are not already familiar with or have the appropriate sensibilities to appreciate this style of film-making. To approach this film with the slightest interest, you must not expect, or wish, to experience a "logical" and plot-line with understandable denouement nor should you be looking for entertainment in the "Hollywood" tradition. Steer clear. Steer VERY clear of this one if such is the case. If on the other hand, you like to be intrigued and bask in an atmosphere of uncertainty, some light-hardheartedness and absurdity... then enjoy!

Roland E. Zwick By turns cerebral, thought-provoking, pretentious and off-putting, "Wild Grass" is a tale of two strangers who become inexplicably obsessed with one another.Adapted by Alex Reval and Laurent Herbiet from the novel "L'Incident" by Christian Gailly, and directed by the legendary French New Waver Alain Resnais, "Wild Grass" focuses on what happens after Georges (Andrei Dussollier), a middle-aged married man who's an aviation aficionado and all-around nut-case, finds a stolen wallet belonging to Marguerite Muir (Sabine Azema), a frizzy-haired (could it be the "wild grass" of the title?) red-headed dentist who flies propeller planes in her spare time. Without even knowing the woman, Georges finds himself inexorably drawn to her, and he'll stop at nothing to insinuate himself into her life. In turn, Marguerite, a single woman who appears to have been boycotting beauty salons her whole life, develops mixed feelings for this man who has essentially become a stalker and who has even gone so far as to slash the tires on her car. And before you know it, Marguerite has become so unstrung and neurotic in her own right that she's sleeping in the cockpit of her plane and has become such a sadist with the dental drill that she would give Dr. Christian Szell - or the Marquis de Sade, for that matter - a run for his money in a pain-inflicting sweepstakes.The off-putting nature of the film comes from the fact that the characters often feel more like the product of a writer's imagination than organic outgrowths from the real world. Their motivations and responses are almost maddeningly preposterous and unclear at times and, as a consequence, our patience with their behavior wears decidedly thin after awhile. There are other distractions as well, such as Marguerite's extraordinarily unmanaged Little Orphan Annie coiffure (we find ourselves wanting to cry out, "Why don't you run a damn comb through that thing?") and the self-conscious cinephilia that is oh-so-typical of French filmmakers.On the positive side, Resnais manages to achieve a hypnotic rhythm with his fluidly flowing tracking shots, and there are definitely some elements of style and theme from some of Resnais' bona fide classics, like "Hiroshima, Mon Amour" and "Last Year at Marienbad," running through this work (the nature of intimacy between strangers and near-strangers being just one of the issues touched upon in all three films).However, these few virtues are not enough to overcome the unlikable nature of the storyline and the two loony and self-absorbed folk who serve as its protagonists. So I guess it's only appropriate that the movie culminate in a spectacularly stupid and laughable into-the-wild-blue-yonder finale that literally, as well as figuratively, crashes and burns on its way to that much delayed but highly appreciated "fin," signaling the end of our ordeal. A fond farewell to all around.