The City of Lost Children (1995)

The City of Lost Children is a stunningly surreal fantasy and one of the most audacious, original films of the year, with brilliantly realized world-building and strong performances that balance its dazzle.

The critic describes the film as a hugely inventive blend of dream, fairytale and myth set in a strange, sinister world with its own crazy logic. They single out the extraordinary visual and narrative inventiveness of Jeunet and Caro.

The film is a worthy successor to Delicatessen, with a more expansive though no less weird picture set in a fantastical alternate world. It succeeds through its touching team-up between a strongman and orphan thief and an involving, moving plot that supports the astonishing visuals.

The film excels in its astonishing visuals and imaginative design but falls short as a narrative, functioning more as a visual exercise than a story one cares about.

The film captures a child's fevered nightmare with intense surreal imagery but becomes overly enamored with visual gimmickry, resulting in a disjointed and emotionally chilly story.

A vibrant, grotesque adult fairy tale full of breathtaking effects and in-your-face imagery that hits sensory highs but too rarely engages deeper emotions.

The critic describes the film as a work of originality without precedent that is unique and unsafe, enriched by grotesque imagery, labyrinthine sub-plots, desperate romanticism, black-blooded humour, a cornucopia of ideas and dazzling brilliance. They single out its dangerous, imaginative power and Gothic absurdity for praise.

The critic calls the film a visually striking steampunk oddity and a glorious nightmare for kids, blending Tim Burton's Gothic impulses with Terry Gilliam's chaotic storytelling. They single out its dazzling, expressionistic visuals and unique fairy-tale narrative for praise while noting its cult appeal despite narrative complexity.

The critic finds the film a strange, inventive blend of fairy tale, dreams and steampunk that is a visual treat but never fully coalesces into a whole. They single out the eye-catching costumes by Jean Paul Gaultier and atmospheric score by Angelo Badalamenti for praise amid the grisly underworld and influences from Verne, Dickens and Gilliam.