Bye Bye Morons (2020) User Reviews

Excellent French comedy. Original. Witty. Charming. Endearing.

[imseeg · 8/10 · 26 December 2021]

Only 12 reviews on Imdb, for such a lovely, original, quirky, witty and endearing French comedy. Definitely an unknown gem!

The good: this story is hilarious. It simply is. And hilarious is all a comedy needs to be. But this movie is much more. It's an endearing tale of motherly love and of love in general. It's better to die young and have loved passionately than to haved lived long and never have felt TRUE LOVE.

The story is about a mother, who had to give away her baby at birth. Now the mother is dying, but she wants to find her lost son before her illness takes her last breath.

Of all people the mother asks (out of neccesity) the help of a suicidal deskclerk and a flirtatious blind man to find her lost son. It's completely bonkers, with suicide attempt, police chases and shootouts, but it is undeniably OH SO FUNNY.

Bless the French for making such HUMAN and PASSIONATE comdies!

Bonjour l'artiste: singular dystopian comedy

[Teyss · 8/10 · 12 November 2020]

Comedy is like pastry: trying to make something light and original with sugar. Albert Dupontel explored it throughout his career by adding bitter ingredients: his movies are at the same time funny, odd, sad and sometimes deep. His style has evolved, from weird first movies to lately an excellent comedy (9 mois ferme (2013)) and a stylised feature (Au revoir là-haut (2017), though not my favourite as it felt like "Amélie Poulain & World War I"). "Adieu les cons" ("Bye bye morons") is one of Dupontel's best, more controlled than ever without losing creativity and wit. As indicated by the title, it is slightly provocative, however there is more than that.

DEPTH & NOSTALGIA

The movie addresses numerous serious topics: workplace injuries (Suze's intoxication), corporate pressure, bureaucratic inefficiency, dehumanisation (e.g. mispronounced names), burnout, suicide, teenage mothers, abandoned children, filiation (recurrent Dupontel theme), extensive digital surveillance, police violence (hot topic nowadays in France), cities transformed into grey blocks. And lighter ones: psychologists' claptrap, doctors' indecipherable handwriting, our addiction to mobiles (the shot in the metro, the crowd at the end), the silly things one does when in love. Depth is relative since it remains a comedy, but the variety and relevance of subjects is significant.

The vision is nostalgic, even pessimistic, as hinted by "Adieu" from the title. The past frequently barges in: flashbacks, teenage Suze in the flesh, files of bygone persons and places, the archivist's evocation of the city, the doctor's diary, photos of his trips with his wife. However these memories clash with a grim present. Adieu our past we messed up. Why did he have to become blind? Why could she not keep her child? Why did we destroy maternity hospitals? Why did we disfigure our cities? Why do we work for these corporations? Why are we addicted to networks that are tracking our intimacy? Les cons, c'est aussi nous (we also are the morons). The happiest character, all considered, is the doctor with Alzheimer disease who cannot compare past and present; he can just look at pictures of joyful moments with his wife.

THE SILVER LINING

Yet there frequently seems to be a silver lining:

• Suze finds her fateful scans at the beginning "beautiful".
• Persons with various issues (auto-immune disease, burnout, blindness, Alzheimer) manage to unite and succeed.
• The ending is at the same time happy (Clara & Adrien) and tragic (Suze & Jean-Baptiste).
• Teenagers are having fun dancing on "Mala vida" (bad life) before Suze gets pregnant. This electric scene also closes the movie.

Humour is omnipresent; there are many slapstick moments to alleviate tension, down to details (for instance when Jean-Baptiste goes away from the overturned car, the policeman inside tries to grab his leg). The view on people is overall positive; most issues are emerging from organisations: companies, administration, police.

Action successfully unravels from beginning to end without heaviness or slack. There are witty references.

• In the flashback where teenage Suze dances with her lover, the lyrics fit the situation: "You are giving me a bad life" ("Tu me estás dando mala vida") since he will make her pregnant... although reversed since the song is addressed from a man to his girlfriend.
• When the gang is trying to decipher the doctor's diary with his wife, there are madeleines on the table: a reference to the Proustian madeleine since they are exploring his past, twenty-eight years back.
• There are nods to Brazil (1985), a dystopian classic: the short yet notable presence of director Terry Gilliam in the advertising, some names (Kurtzman, Lint, Tuttle), situations (e.g. tubes hanging from the ceiling), scenery (e.g. the archives).

However some parts are not fully convincing, notably towards the end.

• The story between Clara and Adrien is shallow: the movie could have previously expanded upon their characters to increase the emotional impact of the meeting in the elevator, which is too easily handled anyhow.
• There could have been a moving reunion of mother and son, but that would have required subtlety that, to be honest, is mostly missing from Dupontel's work since the main driver is energy.
• The final scene with Suze and Jean-Baptiste is too exaggerated to be conclusive.

Nevertheless, "Adieu les cons" is altogether peculiar, funny, partly sad and relatively profound.

Rebel and poetic comedy well in the era of time.

[nouyrigatantoine · 8/10 · 29 March 2021]

This dramatic comedy in the form of a corrosive fable is faithful to the themes of Dupontel, very critical of society, once again describing characters damaged by life. An original and well-crafted scenario and convincing and touching actors. All the themes go from abandoned children to the coldness of institutions through police violence and the inhumanity of the administration and the malaise of our contemporary societies where love and happiness in the individual struggle to express themselves. Suffocated by huge buildings, chemicals and everyone's confinement in front of screens from subway to work. A slap that will not please everyone but that will be like a mini catharsis for others. Thanks Albert.

Another inventive and meaningful goodbye by Dupontel

[matlabaraque · 7/10 · 8 March 2021]

Goodbyes are meaningful with Albert Dupontel. After "Au-Revoir Là-Haut" (See You Up There) (2017), "Adieu les Cons" (Bye Bye Morons) (2020) is another farewell full of sense that Dupontel delivers with poetry, humour and a rebel spirit.

Bye Bye Morons takes place nowadays in France, a country he describes as crippled by its heavy bureaucracy, drowned in a consumer society that promotes individualism as a great value. Don't be mistaken. The film is in fact way less agitator than his first movies. I would call it a feelgood movie about people in need having their revenge on what the society imposes on them. It's trivial enough to entertain without needing to be too focused and at the same time, clever and inventive enough to catch all our attention and get the message behind it .

Albert Dupontel, the director, is a former stand-up comedian (who used to play outsiders of the society who did not adapt to the consumer society and who were ready to blow up the place for it), he's also a long time punk and anarchist sympathizer (it might help to understand the screenplay and the end of the movie) and now, he is an internationally recognized director (after his previous film See You Up There who was unquestionably a must see film of 2017). This film is a continuity with what he has always done, another farewell of his own to criticize our material society, individualism and the state repression of the most needing people. Beyond the story that is rather classical (a death diagnosized woman who wants to make a last good action before she dies ), what is joyful in this film is the constant humour Albert Dupontel resorts to, the hints to our perverted society and a colorful poetry that he disseminates throughout the film . One will recognize the nods to the recent police violence in France, to our over connected habits, our deshumanization in several places of our society . In this film, Dupontel shows a great sense of drama, with camera effects that serve the sense he wants to give , with a thin skinned sensitivity. All this sensitivity aspect would not have been possible without the amazing in-put of Virginie Effira, the "in fashion actress" of the French cinema over the last 5 years. Her work is once again remarkable in this movie. I believe the film would have lost part of his credits without her. However, to me, the main features of every Dupontel's film are his camera and graphics inventions. I guess the best example would be what he resorts to show the dehumanization of the administration, with the never ending spiral staircase as a representation of the vicious circle in which the characters find themselves and the never ending process that is required in a state administration. Another example is the rotating camera on several portraits of important managers at several levels of the administration to show how resortless are the characters of the movie. The reflection over the time passing by and the changes on the landscape in modern cities will certainly speak to many of us too. It is to me, this kind of details, all the camera effects and the graphics inventions that allow him to turn a rather classical story into a moving portrait of our individual consumer society. In that sense, this film is a success . I am more skeptical about the end of the movie (very foreseeable) and the photography of the film which has something to do with Amelie Poulain but which did not make that much effect on me. The red light through the film looks unreal, almost cheesy. Despite these little drawbacks, the film has the merit of bringing you into a special mood, a very Dupontel's atmosphere in which the two main characters (or the three, with the blind person who has got the funny part) kind of float over this colorful society that does not have time nor space for them. Bye Bye Morons has it all in its title, it is indeed a very good movie, well thought, done with creative effects and for this we hope it was just a good-bye and not an "adieu" from Dupontel who looks like he's got a lot to say left.

God movie with a good message.

[pedromafonso-45743 · 7/10 · 8 January 2022]

I loved seeing this movie. I'm a fan of French films, namely the drama and comedy genre. It's not easy, finding one in good condition, but it stuck with me from the beginning to the end, for its backstory and the touch of comedy in the mix. I strongly recommend watching this movie, I don't think it's a waste of time or money.

Another hit from Albert Dupontel

[deloudelouvain · 8/10 · 2 September 2021]

I watched Au Revoir Là-Haut (See You Up There for the English title) followed by Adieu Les Cons (Bye Bye Morons for the English title), both movies by writer/director Albert Dupontel, in which he also plays the major role. I can only say I'm a fan from now on. Au Revoir Là-Haut was more artistic than Adieu Les Cons, but they are both very enjoyable to watch. Adieu Les Cons is something different from the rest, with an interesting engaging story that is easy to follow and that has nice inventive twists and turns, it's all well written, but also very well acted and that from the whole cast. It clearly deserves it's high rating on here. I can't see what people could dislike about this movie. It's certainly one of the better French movies I watched this decennia. You can't really compare it to Au Revoir Là-Haut which has a totally different story but you certainly recognize that typical vibe you get from Albert Dupontel.

A romantic comedy that smells like a road movie

[ricardojorgeramalho · 7/10 · 20 December 2022]

Two characters on the edge, for different reasons, meet by chance, towards an inevitable end.

This could simultaneously be the summary plot of a romantic comedy written by Nora Ephon or a road movie written by Wim Wenders.

The result is a hybrid, written, performed and directed by Albert Dupontel, which, without ever claiming to be a work of author, the general tone is manifestly mainstream, in the rhythm, in the humor, in the glamor of the settings and characters, it does not leave to wink at the most creative universe of Monty Python, whether in the opening dedication to Terry Jones, or in Terry Gilliam's participation in a small but delicious role as a weapons salesman.

Adieu les Cons is not Monty Python, nor Nora Ephron, nor even Wim Wenders. It is Albert Dupontel, an experienced actor, director and screenwriter, who is well worth knowing, and signs a very interesting work here, on the most varied levels.

Loved every minute

[felixtarrida · 9/10 · 18 September 2021]

French films are a world apart -for good- and this is problably one of the very best you could watch right now. Original, imaginative and very well shot. Outstanding casting.

A comedy or a tragedy?

[searchanddestroy-1 · 7/10 · 19 October 2021]

Sorry but I definitely could not get it. I could not say if this movie was to laugh or to wep, was it a comedy or a downbeat drama, an amusing social satyre or a gloomy story about people fighting against somethng stronger than them in a combat lost in advance? I was totally bewildered in front of this mix up. I know that's the Dupontel speciality but here, I could not make it. That doesn't mean the movie is awful, lousy or uninteresting. No, just that too much tragedy kills comedy, and too much comedy kills tragedy. You can't have both. That"s my own opinion.

Stilted, caricatural, improbable, stupid ending

[mmaaddllyy · 5/10 · 12 June 2021]

This movie is a great example of the misused talent available in the French cinema industry. Subsidies are used to produce movies with no substance.

The characters (including the police) are very caricatural and the story is very improbable, making it very hard to connect/relate to it.

After a first laugh with the attempted video, I spent the rest of the film searching for real emotions.

The main characters don't seem to have a home, don't sleep, eat or drink. No sense of time either.

Who is the movie for? Given the lack of imagination in the lines/simple personality of the characters, I'd say the primary audience would be teenagers? Then, why would you have such an inappropriate ending to trivialise a serious topic?

I watched this movie at the cinema and the disappointment was general. People were rushing out to go home.

So, this one doesn't deserve a Cesar for me, regardless of how stylised it is. A movie is a story/an experience that needs to be more meaningful than this.

Brilliant noir comedy !

[lucienm-60321 · 10/10 · 20 June 2021]

What a delightful touching comedy !

Great casting !

Magical mix of unlikely allies !!

Recommend viewing.

French cinema associates with Monty Python

[lee_eisenberg · 7/10 · 20 December 2022]

In a million years I never would've come up with the plot of Albert Dupontel's César-winning "Adieu les cons" ("Bye Bye Morons" in English). The plot combines focuses on underage pregnancy, stressful work, and political activism. It does so without turning silly or preachy.

The viewer may have noticed that the movie is dedicated to Terry Jones and features a brief appearance of Terry Gilliam. Despite Monty Python's renown, I wouldn't have predicted a French dramedy casting or commemorating any of the members.

Anyway, it's a fine movie. Basically, it's about righting the wrongs. I'll have to see more of Dupontel's movies, and in the meantime I recommend this one.

Very disappointing, unoriginal story laced up with clichés

[vostf · 3/10 · 19 September 2021]

I did not find the premise of the movie very attractive but I did not mind since Albert Dupontel usually displays a knack for iconoclastic bursts. Unfortunately his latest movie is definitely lacking in many creative avenues.

The whole movie never achieves to materialize anything more than the raw contents its morbidly unoriginal plot. Acting is actually very good as always with Dupontel because he knows exactly what kind of emotions the story should convey at every turn, but what can you do with a lazy scripted conspicuously spiced up with dumb clichés?

Pretty entertaining

[droopyn · 6/10 · 13 December 2021]

For the comedy part, I smiled 2-3 times but it was not funny enough for me to laugh.

The Scenario is alright, but not the best.

Production is pretty good.

In brief, it is slightly above average.

I surely won't watch it a second time.

It would have been better if A. Dupontel would have felt free to actually be funny (using second degree and black humor).

A fantastic story in a tough world

[nathaliebernard-89632 · 10/10 · 28 April 2022]

Once again , we spend a marvellous time with Dupontel . By just following this courageous woman ( Virginie Efira) making her best and last life efforts to meet her son . She's supported by 2 men who do not have anything to loose neither. Only Dupontel can produce this kind of movies : a fantastic story in such a tough world, a modern western where love has replaced fear .

A Must Movie to See

[shatguintruo · 10/10 · 24 October 2022]

I haven't seen a plot as original as this one in a long time! In addition, the film has a spectacular editing: agile, surgical that "holds" the viewer's attention from beginning to end! And the ending (surprising) even for me who's seen tens of thousands of films... Under the direction of Albert Dupontel the cast "reacts" wonderfully to what is asked of them.

Christophe Pinel (editing) is one of those responsible for quoting the film (note ten) . Virginie Efira, Albert Dupontel (as an actor) is impeccable. In fact, some years ago, when Marlon Brando was alive, he declared in a magazine that directing and acting at the same time was as difficult as shaving without a mirror... (even more like a razor - I add - ). The "rest" of the cast goes in the same direction (great performances). As for the story I won't add anything in order not to "break the magic". To finish: the decoration of the set, in charge of Philippe Cord'homme, is surprisingly great. My rating is 10 (Masterpiece) .

Not very funny and really bad messages for young people

[somethingsomeonejr06 · 1/10 · 27 September 2021]

The sense of humour in this movie is quite bad and as a big fan of French comedies I watched this with high expectations. Making fun of disabilities and presenting some really bad relationship messages, e.g. Stalking a woman as being romantic and a relationship between a young man and an underage girl as cool.

I could have ignored the bad humour, but these kind of messages in 2021, big NO NO.

Drama or comedy? Ultimately neither.

[Carbone144 · 3/10 · 13 September 2022]

(sorry for my english, I'm French) Ultimately disappointed. I managed to get tired of this already very short film. Unfortunately, I smiled two or three times, and apart from that, nothing. The story is silly, which is not a bad thing in itself when you know that Dupontel tends to look for false serious contexts in these films and decorates them with well-dosed humor. Here, it doesn't seem to know where to place the slider between drama and comedy, and ultimately succeeds in neither. The end which is intended to be tearful is ridiculously melodramatic, the suspicions of gags with the blind man are sometimes embarrassingly ridiculous. I was bored, I didn't laugh, I didn't cry, I wasted my time. Drama or comedy? Ultimately neither.

Science without substance is only boredom for the viewer.

[norbert-plan-618-715813 · 3/10 · 8 May 2022]

Albert Dupontel's system is starting to go in circles, like an old man in need of an overhaul. His bric-a-brac, his direction of actors lacking subtlety, his technical choices (photo, focal length, framing, angle) now seem to be tics that we notice. Despite its 87 minutes, the film seems long. Technical brilliance is one thing, but it must serve a substance, here absent, or too mechanical. The film has little hysteria and is forgotten relatively quickly.

Even Virginie Efira usually seems more talented. And the actor Albert Dupontel doesn't seem to be directed (a permanently bewildered look with redundant dialogues - probably resulting from the director's lack of confidence in his direction -).

Albert Dupontel should continue his vein where he directs a story he didn't originate, like the superb Au Revoir Là Haut (2017), where his skill served the story and the film.

Science without substance is only boredom for the viewer.

Terribly written nonsense

[freddy-heinen · 3/10 · 11 October 2022]

It's baffling how people can write about this film being well-written. From beginning to end, the film is relying on nonsensical coincidences, far reaches and terrible ideas to further the plot.

The film keeps writing itself into a corner to then just use the worst ideas to resolve the problem.

One person simply forgets its own senility, people meet up in an elevator after a fire alarm (!) and a properly placed letter on the top of a garbage bin just reveals a whole characters being and desires.

It is terribly written and relies on primitive humor to mask its incredibly nonsensical plot. Also how both a pretty insane stalking storyline as well as sex with a minor is handled in this film really makes you question the authors understanding of love and/ or relationships.

A tone is not a film

[hubertguillaud · 1/10 · 4 February 2022]

A mastered direction, well-posed characters, and a tone between speed and bitterness are not enough to make a film. The situations collapse as they unfold, as does the humor. "Farewell to the jerks" reminds us of a poor Amélie Poulain. One gets bored quickly. Even in the prevailing poverty, it is hard to understand the enthusiasm around the film.