“My plan was to die before the money ran out,” says bankrupt Manhattan socialite Frances Price (Michelle Pfeiffer), 60, but things didn't go as planned. Her husband Franklin died within 12 years, and with her vast legacy gone, she picks up the cash equivalent of her latest property and decides to live her twilight days anonymously in a rented apartment in Paris, accompanied by her disoriented son Malcolm (Lucas Hedges), and a cat named Little Frank, who may or may not represent the spirit of Frances' dead husband. "
Criticism: I look at surreal comedy as one of the most difficult subgenres to appreciate. In my experience, the mood has to be perfect in order to really make fun of laughter throughout the entire time of making a purposefully absurd film. Besides, I need to feel some kind of connection with the main character. Otherwise, it will be extremely difficult to truly enjoy the fun in all this chaos. I have never seen an Azazel Jacobs film (The Lovers, Terry) that features the same screenwriter as his last film, Patrick de Witt.
Michelle Pfeiffer demonstrates phenomenal acting, displaying enormous emotional reach and experience that allows her to perfectly navigate whatever scenario is thrown at her. In the end, Pfeiffer proves that he still has what it takes to direct each year's biggest films. Unfortunately, French Exit is actually an incredibly difficult film to watch. From the remaining disappointing performances - Lucas Hedges is terribly annoying in his role - to the lack of interest in the overall storytelling, this is one of those films that viewers can afford to captivate or not be easy to watch.
Surreal comedy involves a pointless argument that can immediately leave someone behind. This is an extremely specific type of humor that usually does not reach large audiences. Azazel Jacobs shows Patrick DeWitt's story on screen with remarkable dedication, but in the end it is a slow film that stretches unnecessarily, without much laughing.