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**Serious harmonization problems.** After the enormous success of Mr. Bean, it was reasonably predictable that, sooner or later, we would see Rowan Atkinson performing his usual antics in a film production. However, despite the actor's efforts, the truth is that it would never be the same, nor could it be, and sometimes the jokes are so forced that they simply lose their effectiveness. In this film, Bean found work at the National Gallery in London. A job that is apparently safe, if we consider that the character gets into trouble even with the simplest tasks: he is a watchman and sits in a chair while visitors and tourists walk around. The problem is that, in the case of Bean, we know that things are going to get complicated almost by magic: and the gallery directors are very happy when the curators of a Californian museum acquire a remarkable painting by an American author and an expert to talk about her at a presentation ceremony: Bean is the one the directors most want to see behind her back, so they don't even hesitate. From here, disaster is waiting to happen. Let's be honest: the film is funny and works reasonably well. It's a good quality comedy, and it was also successful at the box office (although that's not synonymous with quality, because it's also true that there are many much worse films, like “Ted”, which also sold well). We can't point out defects that it doesn't have at all. For me, the biggest defect of this film is the audience, which created very high expectations at the expense of the gigantic success of the fourteen episode miniseries that Atkinson created in the 90s. Anyone waiting to have the same experience with This film will always be disappointing. Things aren't the same, they don't work the same way and everything is a little more exaggerated and forced. However, it would be difficult for an American production to make a feature-length film with Bean any other way. The film takes great care and attention with the sets, cinematography, costumes and effects used, but it is still within the “standard” of light films that the USA released at this time. It's nothing truly exceptional. Throughout the film, situations occur that attempt to recreate Atkinson's style of humor, as he does his best to avoid talking, but still has to do so occasionally. We can say that the actor made a huge effort, but that he also encountered problems adapting his recipe to the North American cinematic style. It's like trying to dress a child in an adult man's costume: it will look bizarre, disharmonious and ugly, but he's dressed. In between, we also have to positively highlight the work of Peter MacNicoll, and of course, being a historian and an art lover, I have to congratulate the use of the occasion to make known to the general public a magnificent painting that really exists: Arrangement in Gray and Black nº 1. It was painted by James Whistler and can be seen at the Orsay Museum in Paris.
A transgender woman takes an unexpected journey when she learns that she had a son, now a teenage runaway hustling on the streets of New York.
An Eastern European tourist unexpectedly finds himself stranded in JFK airport, and must take up temporary residence there.
Australian good girl Sandy and greaser Danny fell in love over the summer. But when they unexpectedly discover they're now in the same high school, will they be able to rekindle their romance despite their eccentric friends?
While a diamond advocate attempts to steal a collection of diamonds, troubles arise when he realises he’s not the only one after the collection.
It's a dreary Christmas 1944 for the American POWs in Stalag 17 and the men in Barracks 4, all sergeants, have to deal with a grave problem—there seems to be a security leak.
Bridget Jones is an average woman struggling against her age, her weight, her job, her lack of a man, and her various imperfections. As a New Year's resolution, Bridget decides to take control of her life, starting by keeping a diary in which she will always tell the complete truth. The fireworks begin when her charming though disreputable boss takes an interest in the quirky Miss Jones. Thrown into the mix are Bridget's band of slightly eccentric friends and a rather disagreeable acquaintance into whom Bridget cannot seem to stop running or help finding quietly attractive.
On an otherwise normal day, Étienne, a happily married man and a good father, sees something that stops him dead in his tracks: a gorgeous woman in a billowing red dress. Long after she has left his vision, her memory continues to haunt his mind. He falls instantly in love with her and tries everything to get to know her better. Helping Étienne snare his elusive lady in red are his three bumbling buddies, which all have secret affairs and/or cheat on their wives.
A brash and precocious ten-year-old comes to Paris for a whirlwind weekend with her rakish uncle.
Ana, a teenager artist, is raised in Ibiza by her German father Klaus in a naturalist lifestyle. She meets Justine, who invites her to move to Madrid and get an artistic education and financial support. Ana befriends Linda, meets the problematic Said, a Saharawi youngster, and later she is hypnotized by Anglo, who opens a door to her memories and past lives.
In 1942, in an occupied Paris, the apolitical grocer Edmond Batignole lives with his wife and daughter in a small apartment in the building of his grocery. When his future son-in-law and collaborator of the German Pierre-Jean Lamour calls the Nazis to arrest the Jewish Bernstein family, they move to the confiscated apartment. Some days later, the young Simon Bernstein escapes from the Germans and comes to his former home. When Batignole finds him, he feels sorry for the boy and lodges him, hiding Simon from Pierre-Jean and also from his wife. Later, two cousins of Simon meet him in the cellar of the grocery. When Pierre-Jean finds the children, Batignole decides to travel with the children to Switzerland.
When a naive policeman falls in love with a prostitute, he doesn’t want her seeing other men and creates an alter ego who’s to be her only customer.
