Submarine

Richard Ayoade's recent feature debut.
Nicking large bits of 'the 400 blows' and namechecking Eric Rohmer (not mentioning 'Don't Look Now', and 1000 other references) does not make a film have anything to do with the nouvelle vague. That movement had a sense of improvisation, street filming, a completely charming inexactenss to its mis-en-scene of often long takes. This film is far too precise, and frankly un-human (no improv, no real 'truth', documentary aspect in the Godardian sense here) for that. Not owning a tripod does not give a sense of jeu-de-spirit. This is remarkably precise in its bust cutting, use of close-up, sharply throwing us around.
It is also about as shallow as a puddle; ultimately any attempt at seriousness is just caught in a 'trendy' fashion, the very things it is initially cynical about are its ultimate goal, and any attempt at resonance unbelievable; again, compare to the new-wave, where the sentimentality could work because the sheer idiocy, in all its truth, of the characters made them sympathetic. Though this film does shar one thing; a questionable view of the female sex.
With this out of the way, we can say we rather enjoyed this film; it is really very funny, with a great script, a high hit rate (with a few misses) for the gags. Ayoade, hopefully, will make screwball comedies. If he must try and be serious, that is sentimental... well he shouldn't, but if he miss, leave out the jokes, and judge it on that (i.e. make a Woody Allen film, with grownups). The horrible Wes Anderson, deeply shallow 'quirkiness' can achieve no resonance, but it is quite funny. hopefully that will be the next step. For, after all, this film really is, as said, very funny.