‘Big Bug’ Review: Jean-Pierre Jeunet Demonstrates the Perils of Total Creative Freedom
) and two slang-spouting teens . That’s more than a full house, but add to that a handful of robots/devices — all of which want to be human in a lame running-joke subplot — and hell is being forced to watch “Bigbug.”
Back in the early ’90s, Jeunet burst onto the international scene with a pair of dystopian dark comedies, “Delicatessen” and “The City of Lost Children,” that made him — along with then-collaborator Marc Caro — among the most exciting new auteurs of his generation. The duo split when Hollywood called with an offer to make an “Alien” sequel, which Jeunet wound up doing alone.
“Bigbug” should’ve been Jeunet’s comeback. So many of his visual signatures are there, carried out by his regular team: the loud floral-print costumes and deliberately kitschy production design ; the exaggerated acting style; the added distortion of pushing a wide-angle lens uncomfortably close to a character’s face or down poor Toby’s throat.
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