I probably shouldn't have spent so much time talking about Jeunet's direction at the beginning, but the film is so much his creation that it has to be acknowledged. His script, which he co-wrote with Guillaume Laurant, sparkles with warmth and humanity; its easily the best part of the film. The film tells the story of Amelie Poulin, a precocious Parisian who discovers a stash of old toys in her bathroom, and sets out to return them to their owners. Over the course of the film she improves the lives of all those around her and tries to identify a mystery man whose pictures keep showing up in a train station photo booth.
For the most part, Jeunet's style works well with this movie. Since the script pops with so much optimism, his visuals only improve the story. Credit frequent Jeunet cinematographer Bruno Delbonnel for creating the exquisite shots that have drawn much of the film's praise. And Tautou plays Amelie with a wink and a smile; she's a pure-hearted Parisian pixie who's out to improve her world. But the film can teeter on the side of too-cute, but these moments are few. For the most part, its a notable work of French cinema, and perhaps the best pairing of director and material in Jeunet's career.