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Reviews Counted:152
Fresh:105
Rotten:47
Average Rating:6.6/10
Consensus: Lovely and diffuse, Sleep isn't as immediately absorbing as Gondry's previous work, but its messy beauty is its own reward.
Runtime: 1 hr 46 mins
Genre: Dramas
US Box Office: $4,572,038
Synopsis: For his first non-documentary film after 2004's ETERNAL SUNSHINE OF THE SPOTLESS MIND, French writer/director Michel Gondry applies his highly inventive cinematic vision to THE SCIENCE OF SLEEP.... [More]
Starring: Gael Garcia Bernal, Charlotte Gainsbourg, Miou-Miou, Alain Chabat
Director: Michel Gondry
It's all very cosmopolitan (the dialogue is English, French and Spanish), very independent, a wee bit juvenile and very confusing, of course. But The Science of Sleep is also remarkably magical and desperately romantic beneath it all.
The whimsy Gondry whips up soon goes wispy as we wait in vain for all this sweet-natured silliness to reveal a meaning that isn't transparently obvious.
Gondry's creative breeze of a movie is fun while it lasts, and that's more than you can say about a whole lot of movies.
This determinedly nonlinear filmmaking tells the story more accurately than cinéma vérité ever could.
Although the diminutive (5-foot-6-inch) Bernal emanates an infectiously playful and energetic charisma, there comes a point when you just want to slap him with a big hand for being such a petulant baby.
There is nothing scientific about this enchanting little story, but it does create a dream world pretty fascinating to visit.
The eye is given plenty to enjoy, but the heart goes wanting.
Boundless in its visual imagination but exacting in its emotional explorations, "Sleep" is one of the best and certainly most distinctive films of the year.
The sum of Gondry's parts may be a hole, but the parts can be pretty darn clever and captivating.
Visually, the movie is childlike -- ornamented with the oddments that a little girl might keep in a box under her bed and decorated with the fancies that a boy might draw in the margins of a school book.
[Gondry's] passion for cinematic invention is giddy and palpable, with the rudimentary charms of fellow Frenchman and turn-of-the-century filmmaker Georges Melies.
The film is wonderfully innovative.
I loved Science, but in its final minutes I felt that I had a one-way ticket to a cul-de-sac. The scenery is something, though.
As charming and inventive as Gondry's fanciful visions are, they aren't enough to substitute for the lack of an involving story.
We see the world as Stephane sees it... This world is a surprising and sweet place to be, kind of like when you're driving and you switch on the radio and the perfect song unexpectedly comes on.
The filmmaker, working from his own script for the first time, is so joyful, so ebullient, that he manages to skirt pretentiousness even when the movie becomes oppressively whimsical.
Pouring every impulse, inspiration and outlandish image at hand into his project, [Gondry] creates a dream world as visually delightful as it is merrily illogical.
Gondry's effort here is much more reminiscent of his earlier music video work.
Like the best dreams, it'll leave you a little dazed, and wishing you could close your eyes and put yourself back in its world.
It's a tonic to see a film, however uneven, obsessed with the question of what young love is, exactly, while detailing the stupid stuff that makes people act like jerks over someone.
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