In the hands of filmmaker Jean-Pierre Jeunet, whimsy is practically an automatic assault weapon. That doesn’t mean his pictures aren’t sometimes inspired. At their best — as with A Very Long Engagement (2004) or the The City of Lost Children (1995) — they can be wondrous, otherworldly mechanical inventions, the kind of dark, glittering things Jules Verne might have dreamed up if he’d fallen asleep watching Mulholland Dr.
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