Tedfoldol everything you have heard about this movie is true.

Manthast Absolutely amazing

GarnettTeenage The film was still a fun one that will make you laugh and have you leaving the theater feeling like you just stole something valuable and got away with it.

Myron Clemons A film of deceptively outspoken contemporary relevance, this is cinema at its most alert, alarming and alive.

Tad Pole . . . trying to see if they can Jibber Jabber in a foreign lingo too fast for subtitles in the "Queen's English" to keep up with, than CHARLOTTE & VERONIQUE (this short's on-screen title) probably will please you as much as that traditional French dish of "frog legs, snails, and poodle tails." Since the average life expectancy for G.O.P. American leaders has shot up to 93 thanks to "Jerry Ford" and 'Ronnie Reagan," if Leader Trump foregoes his option to join Presidents Putin, Kim, and Xi (of Russia, North Korea, and China, respectively) as Top Guns for Life, it raises the question of where he can best enjoy his many Golden Years of retirement. He'll still be a relatively young billionaire in 2025, and they're saying that 80 is the new 55. However, if Leader Trump settles down in the USA, greedy gals will be trying to gouge him for cash any time he so much as glances their way. However, CHARLOTTE & VERONIQUE reveals that French chicks EXPECT to be pawed, man-handled, and forcibly kissed by any pushy guy who happens by, especially if he makes at least a lame attempt at non-stop compulsive lying. Since CHARLOTTE & VERONIQUE encourage and laugh off such molestation on the part of an ugly tightwad stranger, just think of the Liberties French women will eagerly grant to the world's most famous Billionaire when he makes his beachhead "over there."

Horst in Translation (filmreviews@web.de) Can't say they didn't ask for it. This is a cute and quirky little B&W short film lasting roughly 20 minutes. 2 best friends who share an apartment together happen to run into the same boy on the very same day and after, initially, playing hard to get both agree on a date so they can see him again.Now, back at home they tell each other about their encounters without finding out what really is going on while playfully mocking the other's taste in men. There's one moment during the conversation where one girl asks the other what did he say and I expected either reciting the "Who planted the first trees in Paris"- or "Girls always have cousins"-lines, so they would finally see through it, but it's not happening. Instead they're joking around about fitting both their boyfriends into the same bed and going on a double date to the movies.So when will they find out and how long can Patrick keep up the juggling game. In the final scene we find out which of the girls he picks. Was it your favorite of the two?

Michael_Elliott All the Boys Are Called Patrick (1959) ** 1/2 (out of 4)Simple twenty-minute short from Godard about two female friends who meet the same guy on the same day but don't know that the dates they've set up for the next day is with that same man. This is a pretty good little film that moves along very quickly and contains some good dialogue and performances. I was really impressed with the two women in the film played by Anne Collette and Nicole Berger. Both women turn in strong performances and best of all is that they make both characters very memorable. Jean-Claude Brialy also does a fine job in his role. I really don't think there's anything too overly special about the film and it really doesn't even look or feel like the work of Godard but for what it is the film is worth viewing.

MisterWhiplash Considering what I read about this little short film, the first directed by Jean-Luc Godard and one of the first, if not the first, scribed by Eric Rohmer, I thought this was just going to be a stupid, amateurish piece of fluff. As it turns out, Charlotte and Veronique or All the Boys Are Called Patrick is like a small little quasi-template for the stylistic and romantic attitudes of the French New Wave via Cashiers du Cinema. It's naturally un-polished and a little too quick to leave as lasting an impact as some of the other films Godard and Rohmer would make, but it also features some of their best qualities on display with the energy and liveliness of rebel filmmakers squarely in their youth. For one thing, the criticism of film at the time is slipped in well enough for any film geek to savor- like the newspaper headline one reads at a table that says "French cinema is dying under the weight of false legends"- which includes some minor hints of the convention-breaking camera angles (who says we need to see a person talking to one in a over-the-shoulder, or head on, angle anyway).And for me, unlike another commenter on this page, I didn't think it was necessarily more Rohmer than Godard. The sense of rapid-fire ease in getting realistic dialog regarding those of the opposite sex is there, to be sure, but there's a sense of rhythm that comes out in the dialog that wouldn't be found right away in Rohmer; actually, if anything, the whole rapport between Patrick with the two girls he courts reminded me of the pushy yet "cool" way that Belmondo had about him in Breathless. And the street photography out in Paris shows Godard being already unequivocal in his mastery of capturing the outside world in a unique style- that too is sort of a stylistic template for the Nouvelle Vague. And while it ends on a fairly obvious note- what Patrick really is after all the build-up of Charlotte and Veronique talking about 'their' Patrick- it nevertheless delivers on bringing some light and breezy times by way of hip filmmakers testing their chops on scripting the basics with character and getting down what it is to make the outside world into a form of poetry.