'Bigbug' from 'Amélie' director Jean-Pierre Jeunet is a sci-fi satire that's too broad and too irritating for its own good.
In Bigbug—the first film from Amélie and Delicatessen director Jean-Pierre Jeunet in over a decade—machines are becoming more human. The Mecas, an outdated form of robot helpers, have decided that in order to be accepted by their human owners, they should rely on what they believe to be mankind’s greatest invention: humor.
However, one such home is completely ignorant of the Yonyx takeover going on outside, and to protect them, their Mecas have locked them within their house for safekeeping. The house is considerably packed, as Alice is locked inside her home with her ex-husband Victor , his secretary/lover Jennifer , and Alice’s new potential love interest Max . Further taking up space is her obnoxious neighbor Françoise , two teenagers , and a batch of robots trying to be funny.
Yet it’s the tone and style of Bigbug that is the most frustrating aspect of this inane and strange comedy. Jeunet can certainly go too far with his style, as anyone who has seen his previous films can attest, but Bigbug is just too much of everything. The candy-colored home is overwhelming, the reliance on bad CGI is abhorrent, and, again, the humor is irritating, even when that’s not the goal—which is often the case.
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