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Madame Souza embarks on a quest to rescue her grandson - a Tour de France cyclist - from the French mafia, with the help of his dog and the Triplets of Belleville.
Such is the hazard of the cartoon: as a form, it thrives on elongation and excess, yet, within its vortices and crannies, who knows what moldy prejudice can breed? [1 December 2003, p. 118]
May be the oddest movie of the year, by turns sweet and sinister, insouciant and grotesque, invitingly funny and forbiddingly dark. It may also be one of the best, a tour de force of ink-washed, crosshatched mischief and unlikely sublimity.
Children may enjoy it, aside from the youngest, who might find it too weird for comfort. Its main audience is adults, though. And not just any adults, but those in the mood for venturesome fare that's both surreal and hilarious.
Fast, funny, unexpected and uninhibited, The Triplets of Belleville may be animated, but it is also the product of an artistic vision every bit as rigorous as any lofty Cannes prize-winner. Hearing about a film this special isn't enough. It demands to be seen, and it generously rewards those who, like Madame Souza, let nothing stand in their way.
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WHAT ARE CRITICS SAYING?
The New Yorker by Anthony Lane
The New York Times by Dana Stevens
Christian Science Monitor by David Sterritt
Village Voice by J. Hoberman
ReelViews by James Berardinelli
Los Angeles Times by Kenneth Turan
Variety by Lisa Nesselson
New York Magazine (Vulture) by Peter Rainer
Rolling Stone by Peter Travers
Time by Richard Corliss