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Madame

Adding a little spice to a waning marriage, Anne and Bob, a wealthy and well-connected American couple, move into a manor house in romantic Paris. While preparing a particularly luxurious dinner for sophisticated international friends, our hostess discovers there are 13 guests. Panic-stricken, Anne insists her loyal maid Maria disguise herself as a mysterious Spanish noble woman to even out the numbers. But a little too much wine and some playful chat lead Maria to accidentally endear herself to a dandy British art broker. Their budding romance will have Anne chasing her maid around Paris and finally plotting to destroy this most unexpected and joyous love affair.
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WHAT ARE CRITICS SAYING?

50

The Globe and Mail (Toronto) by Brad Wheeler

The so-so film’s soul and saving grace is Rossy de Palma, the Picasso-esque muse of filmmaker Pedro Almodóvar, who steals the show and, as the family maid, the heart of a British art dealer.
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The Hollywood Reporter by Frank Scheck

The film's stars are Toni Collette and Harvey Keitel, but the proceedings are stolen right out from under their noses by supporting players Michael Smiley and particularly Rossy de Palma. The latter, familiar from the many Pedro Almodovar movies in which she's prominently appeared, nearly manages to save the picture.
60

Los Angeles Times by Gary Goldstein

As a chance to watch Collette and De Palma at work, soak up some lovely Paris locales and root for a working-class underdog, Madame proves a breezy enough diversion.
63

ReelViews by James Berardinelli

Madame is populated by one-note individuals and the screenplay isn’t overly interested in building them beyond their core characteristics. As a result, lonely and bored Anne (Toni Collette) becomes unlikeable because she is defined by her vapidity and venality.
40

Variety by Jessica Kiang

With writing that’s nowhere near as sharp as the tailoring, and which adorns a trite Cinderella story that stuffs the fabulously unconventional De Palma into a stiflingly conventional corset, Madame is less a baroque masterpiece than a subpar reproduction in a gaudy frame.
50

Screen International by Sarah Ward

When the film works — or, whenever de Palma brings relatable spirit and charisma to her centrepiece role — it’s a slice of undemanding fluff, serving up an underdog fantasy that probes the difference between the haves and the have-nots without daring to dig too deep.

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