Critic Reviews

Ceaselessly upbeat and just short of zany, Let My People Go! will bring smiles of recognition to anyone who hasn't seen early Woody Allen in a while.

Without a consistent stylistic playfulness to match the histrionic scenarios, the action often feels just plain silly.

The road to the inevitable slapsticky Seder is paved with more sweetness than bite, a good deal of frantic foolishness and progressively thinner laughs, all wrapped in a message of acceptance and inclusiveness.

You don’t have to be Jewish to love borscht belt humor, or gay to love camp, or French to love farce. But when all three are thrown into a blender with a dollop of generic family dysfunction, as is the case in Let My People Go!, oy vey doesn’t begin to address the result.

Mikael Buch's debut feature is silly and sweet, but also paper thin and mostly unimaginative: a series of cartoonish vignettes during which a generically eccentric Jewish clan confronts movie-family problems (adultery, divorce, health scares, tense sibling relationships).

Reuben is a whiny and uncoordinated prodigal son. His constant chafing at himself and the world is the film's biggest problem; by the midway point we're all wishing him back in Finland where he belongs.

Let My People Go! offers an unholy alliance of camp and farce that both celebrates and mocks gay and Jewish stereotypes.

Among gay Jewish French postman movies, Let My People Go! may be a Hall of Fame entry, but alas, by any other standard this would-be sex comedy is a dismal failure.

It would appear that for his first feature, Mikael Buch wanted to leave nothing to chance. So he threw in enough action for five movies, amped the comedy up to frenetic levels and encouraged his cast to play to the rafters.