The 2007 French movie (Un baiser s'il vous plaît)is light summer fare, more rom than com, more sweet amusement that LOL, "more quirky than wacky," as reviewer Roger Moore said in the Orlando Sentinel. A Parisienne (the delectable Julie Gayet) stranded on the empty streets of Nantes with no taxis in sight accepts a ride to her hotel from a stranger (Michaël Cohen), the ride leads to dinner together and obvious attraction, and that leads to his request for a goodnight kiss, "a kiss without consequences," as they are both involved with other people. She says no and is persuaded (in fact this entire movie is filled with effectively clever persuasion) to tell him the story that she says would explain her refusal. That story becomes the majority of the movie, which Stephen Rea in the Philadelphia Inquirer, calls "impossibly French." Kisses can be very powerful, at least they are to the couple she describes, played charmingly by Virginie Ledoyen and Emmanuel Mouret, who also wrote and directed the film. They have been best friends for years and he, in a funk over his lack of physical connection with anyone, persuades her—a married woman—to kiss him. And, while the premise may be a little unrealistic, it's lighthearted fun, delivered smoothly.

This movie is quite typically French—lots of talking, little actually happening. But within this framework it starts out quite well, is well directed, well acted, and the story is initially good and interesting.In the second half of the movie the two main figures plan an ingenious plot that makes the viewer curious about how it would work out. However, just when the movie becomes most interesting and things are actually happening, the plan abruptly fails in a rather concocted, unlikely way, frustrating the viewer and rendering the rest of the movie uninteresting.What a pity! This could have been one of the better French-style movies, if only the story author would have got his act together.

Just saw this movie this afternoon and loved it. A light fare, excellent music, wonderful plot with a twist in the tail at the end. You certainly leave the theater on a high. My favorable impression might be clouded by the fact that I am a admirer and lover of French cinema. Do not expect high drama, superb acting but some wonderful moments that will entertain and amuse every aficionado of modern cinema. Loved the use of color to highlight moods an emotions, with the clothes of the actors and the background of the sets complementing each other wonderfully. The acting as said is not spectacular, however all characters are brought to life and made very personable and likable.

This movie is like half-popped corn. Remember that gooey feeling? The only reason to see it at all is a silent, dimly lit, near-still three-second shot of Virginie Ledoyen smoking a cigarette by the open window. Like her or not, you have to admit she looks great in half profile. A long-time advertising model (and bona-fide beach babe ever since she played eye candy to Danny Boyle's adaptation of Alex Garland's "The Beach"), she has become a very classy lady indeed. A little too classy for her own good perhaps. Which is true for the movie as a whole. The script lays claim to emotional upheaval and tragic turmoil, but the movie is all surface. If that's a dramatic strategy, it doesn't work for me. With outfits to match the set design, the characters are almost invisible against the backdrop of their tastefully decorated apartments. Think "Closer" meets "Match Point", minus any wit of note. There was only a single line I really liked. Judith (Ledoyen) is trying to convince Nicolas (writer-director-actor Emmanuel Mouret) that they must exorcise their obsession with one another by making its consummation as unpleasant as possible: "Let's do it on the floor. It'll be less comfortable that way." I'll try to remember that, and use it when the time is right.