For all the earnestness with which the filmmakers replicate the muted colors and attitudes of the post-war era, they ultimately fail to say anything truly interesting about either the past or the present, resulting in a work that feels as superficial as it does slick.
Time Out London by Cath Clarke
It's très chic and charming but a bit disappointing when you see where it's headed.
It’s not like “The Artist” was gritty, but Populaire is so cotton-candy breezy it makes the Best Picture-winner look like “The Panic in Needle Park.”
If anything distinguishes director Régis Roinsard’s take on well-trod material, it’s his Technicolor-bright widescreen palette (recalling many a late-’50s pillow-talk romance without a hint of snooty irony) and energetically game cast.
Slant Magazine by Nick McCarthy
Candy-colored to a potentially cavity-causing degree, the film is a bubbly regurgitation of retrograde romantic comedy tropes and reactionary sexual politics.
The Guardian by Peter Bradshaw
You'll need to have a very sweet tooth for this, and it makes light of those difficult sexual politics that Mad Men attacked with such fierce satire.
No prizes for guessing who ends up with whom, but the colourful retro designs and the leads’ sparkling chemistry help to Tipp-Ex over some of the predictability.