Francis Veber has probably seen better days as a filmmaker- he directed the Dinner Game, much appreciated by those who've seen it, and he wrote the original La Cage Aux Foux script- but it's never a bummer to see him pour out his contrived romantic comedies. It's the kind of movie where there is not a whole lot to really praise to the heavens as being truly sharp and original wit and style with the characters and plot, but at the same time I can't think of anything that is necessarily horrible either. Like a breezy enough sitcom with pleasant enough cast members, the Valet makes its presence known early on enough (following the opening titles, which are quite impressive), and it moves along pretty quickly. Maybe too quick, possibly, as it could have more of an impact with further developed characters. The one who gets the most real investment of full dimension is the wealthy adulterous husband, played by Daniel Auteil, who previously played Francois Pignon in another Veber movie, only this time played by the average shmo-like Gad Elmaleh.
It would be a little pointless going through the big hoops in describing the plot as it is stemming from a fairly obvious, if clever-obvious, premise (the Village Voice review is basically a whole description of the review, in much more amusing respect than I could muster). But it should be noted that all of the little twists that occur without there being a whole lot to connect with the characters aside from schadenfreude with the rich guy (and his wife instigating it, played by Kristin Scott Thomas in surprising 100% French), because the ones who are the everyday folk are kept a little too simply: girl needs money for her father, but doesn't want to get involved with the man who loves her so. We're told they're kindergarten friends, but there is very little else to go on as to how Francois's connection to her could be so strong, aside for plot convenience. It's like one of those goofy and simple cooked-up scenarios, with devious and rational-minded characters in equal measure, that could pop up in a less savvy programmer that pops up on weekday mornings on Turner Classic Movies.
Which is, in an off-handed way, a slight compliment I hope. It's about as light as comedy can get, with the roughest touches of absurdity being the doctor father being treated by his own patients, a woman who's head is caught on fire while her waiter is taken by the sight of the supermodel and valet, and the very last scene, which has a comeuppance that is cheesy, but very funny, and a surprise considering the lack of transvestites in the film. I liked The Valet, but it's nothing to get worked up about to leave the house and rush to the theater to see.
It would be a little pointless going through the big hoops in describing the plot as it is stemming from a fairly obvious, if clever-obvious, premise (the Village Voice review is basically a whole description of the review, in much more amusing respect than I could muster). But it should be noted that all of the little twists that occur without there being a whole lot to connect with the characters aside from schadenfreude with the rich guy (and his wife instigating it, played by Kristin Scott Thomas in surprising 100% French), because the ones who are the everyday folk are kept a little too simply: girl needs money for her father, but doesn't want to get involved with the man who loves her so. We're told they're kindergarten friends, but there is very little else to go on as to how Francois's connection to her could be so strong, aside for plot convenience. It's like one of those goofy and simple cooked-up scenarios, with devious and rational-minded characters in equal measure, that could pop up in a less savvy programmer that pops up on weekday mornings on Turner Classic Movies.
Which is, in an off-handed way, a slight compliment I hope. It's about as light as comedy can get, with the roughest touches of absurdity being the doctor father being treated by his own patients, a woman who's head is caught on fire while her waiter is taken by the sight of the supermodel and valet, and the very last scene, which has a comeuppance that is cheesy, but very funny, and a surprise considering the lack of transvestites in the film. I liked The Valet, but it's nothing to get worked up about to leave the house and rush to the theater to see.