Slow pace in the most part of the movie.

When a movie has you begging for it to end not even half way through it's pure crap. We've all seen this movie and this characters millions of times, nothing new in it. Don't waste your time.

It's the kind of movie you'll want to see a second time with someone who hasn't seen it yet, to remember what it was like to watch it for the first time.

Through painfully honest and emotional moments, the movie becomes irresistibly relatable

Just love this film. Its not that long, but he conveys so much across the screen without words, language, just visuals. The cast here is used over time in future films. These are very steam punk in my opinion! Its funny how this subject matter can be sexy, funny, and visually as well as story line interesting! I am just fan of this director! The dialogue and plot are wonderful. Think about the bouncy bed scene and all it conveys, funny sexual, plot, its just one amazing scene out of many!

Don't even fully know why I'm writing this, I guess it's because there were so many splendid visual treats throughout I found myself a little hypnotized. Right from the start the credit titles were just startlingly fascinating to watch! (took me back to my favorite main tile design for "Walk on the Wild Side" '61). Fabulous Production Design by Marc Caro with all sets capturing that grotty, old, old look of Paris being just great - as is the cinematography by Iranian Darius Khondji (The Immigrant '13) - much beyond all these eye popping aspects this film tends to lurch from one grotesque situation to another.While an impressive feature directorial/screenplay debut for Jean-Pierre Jeunet and Marc Caro, felt it might have been great as a 40min surrealist featurette of the type the French and British were so good at in the 50s & 60's - as a full feature it begins to run out of steam mid way, where it begins to ramble incessantly. The cultists will adore it - those who are looking for more than nasty style and madness may wane well before the end. I agreed with the New York Times 'spot-on' summary referring to the plot becoming "quite literally a washout when the bathtub overflows". Those who last to the end should enjoy the very likable performances of the main leads - along with a melodic music score by Argentinian Carlos D'Alessio (sadly his last feature score). One of his themes had such a familiar refrain that I found myself humming along - then realized it reminded me of the great Dion top 40 chart topper from the 60s "I Can't Believe It's True" (ironically that title sort of describes this plot!). Those who know this marvelous song may find themselves looking through their record collections or singing it to themselves next day.The Sound Track for this inventive score is available on CD (Polydor I think)

Pushing aside a presumption of a bland cannibal movie, Delicatessen provided an interesting view with its dark cinematography with slight yet effective humor and unpredictable twists. The ingenious and entertaining integration of different noises to create music as well as the creation of rhythmic movements with sounds coming from the television are only two of the many creative ideas touched upon throughout the movie. The usual clichés of post apocalyptic dystopia has been effectively confined into a minimum while using the clichés to an advantage in producing cringing revelations throughout the movie. The movie's best feature would be its various side stories which look into the lives of the various different tenants of the butcher's building. The employment of humor in tragedy has been another highlight of the movie. However, the story suffers from a lack of elaboration in some parts of it. The movie itself was a little slow at times. Despite the slight drawbacks, the movie is definitely worth a watch due to its original concepts attractive to any movie enthusiast.

Weirdly delicious film, I cannot define this in a better way. Filled with idiosyncratic characters and eccentric scenes, this film is all about these characters above all else. In a building where a butcher heads a group of people and invites tenants on his terms and conditions, he acts with a weird sense. The building is dilapidated, the time frame is not mentioned and is left for ambiguity, the actions of characters are mostly out of place and hard to find reason. Yet, all of this makes an interesting a fun film. The fun is derived by the color toning of the film which is partially sepia. Also, the fun lies in the camera work by Darius Khondji. The whole setup and production design is done peculiarly to make us curious. From the first frame, of the film I was kept curious till the end as to what is happening on screen and where will it lead. For sure, the screenplay is gripping and it proves that however a story may be but if told interestingly, it can be great fun to watch.The editing is another department where the film knocks out a punch. It is meticulous and all the way meant to be interesting I believe that in a film if there is never a dull moment then the credit should go to the editing, and rightly so I do for this film. The actors are not known to me considering that this is french film. Yet, all of them are superb in their roles. From a tenant, to the head the looks they give, the expressions they showcase,. the tone of voice they speak in, are all instigating curiosity on the lines of fun and humor. Jean Pierre Jeunet and Marc Caro have given us a treat of black comedy and sarcasm embedded with fun and frolic of unpredictable characters. These directors have to be commended for this work which is indeed one of the fine cult movies of 1990's. French Cinema in itself is years ahead of contemporary cinema in other parts of world and this film just proves that. A 4/5 for a delicious film