J. Hoberman, The Village Voice
Amy Taubin, Film Comment
David Fear, Time Out New York
David Ehrenstein, L.A. Weekly
Gerald Peary, The Boston Phoenix
Ian Buckwalter, DCist

"You might want to tuck Damien Chazelle's name into your memory bank if his filmmaking debut, the terrific jazz improvisation that is 'Guy and Madeline on a Park Bench,' is any indication of what his future might hold. How many 25-year-old indie directors choose to channel 1930s B-grade Hollywood musicals into a contemporary, tap-dancing love story, with nearly all of its very limited budget poured into paying the Bratislava Symphony Orchestra (yes, you read that correctly) to play the smoky original score created by a talented friend? And - and this is a big one - actually make it work? I think there might be just one." - Betsy Sharkey

"Four stars. Marvelous... This is a real filmmaker, with a real ability to express feelings through song and dance, sometimes ironically, sometimes straight from the heart." - Michael Phillips
"Stunning... Bursts open, unexpectedly, with the jazziest, most joyous musical numbers ever in an independent film. Here's the little Boston movie that could." - Gerald Peary
"Easily the best first film in eons." - David Fear
"This is a kind of cinema that no one really makes anymore - yet Chazelle demonstrates a stunning natural fluency in its outdated grammar. It's as if he's spontaneously started writing gorgeous poetry in a long-dormant language." - Ian Buckwalter
"It catches you off-guard... The melodies - in both the songs and the lyrical orchestral sections - are so easy and infectious you'd swear they were classics... The showstopper comes near the end, a fluid, gorgeously choreographed diner number where busboys dance with their mops and waitresses tap on counters and the camera hurtles along with the exuberantly charming Garcia as she leaps off stools and twirls among the fryers... Like the movie itself, it's using raw, limited resources to reach for the stars." - David Edelstein
"A magical amalgam of Jean-Luc Godard, Miles Davis, Morris Engel and 'The Umbrellas of Cherbourg,' helmer Damien Chazelle's 'Guy and Madeline on a Park Bench' catches you off-guard and keeps you there... A surprise, a delight and a whimsical experiment, it could, despite its rigorous efforts to be noncommercial, end up a bona-fide cult hit... There are moments here that are simply transcendent." - John Anderson
"A beguiling musical that's modest in budget but audacious in its aspirations and achievement... Guy and Madeline on a Park Bench has the expansive spirit of a big city romance, though it was made for a song... It manages to be both low key, downtown cool and exuberant at the same time... Chazelle may have inhaled the heady influences of the French New Wave and the smoky atmospherics of jazz clubs he frequented, but he has forged something very much his own... With the right distributor, Guy could develop a following." - Sura Wood
"An ingenious, enchanting hybrid of an old-fashioned Hollywood-style musical and a vérité cityscape… The most erotic subway scene since Richard Widmark lifted Jean Peters’s wallet in Pickup on South Street… Chazelle is an exceptionally talented filmmaker. Let’s hope the independent film world has enough life left in it to do him justice.” - Amy Taubin
Click here for the full article: http://www.filmlinc.com/fcm/ma09/guyma.htm
"A decidedly modern film, whose frightened, impulsive, charming characters could walk into our lives tomorrow. Madeline might serve us coffee at breakfast; Guy, music in a club after work. We'd be lucky if they did." - Stephen Cole
"Delightfully idiosyncratic... An intimate and deeply felt portrait of 20-something romance at its most hesitant, conflicted and - when it all comes together - rapturous." - Jason Anderson

"Just when you start to hate what 'independent' film has become (better to re-brand it 'trustfunded' film), something like Guy and Madeline on a Park Bench comes along... Unable to contain its joie de vivre, old school/aware of its influences and yet unlike anything you've ever seen before, this is the type of picture that can give you faith in the creative vision of privileged twenty-somethings yet again... The film reveals a major directorial talent in the making." - Brandon Harris

"Blissful, brilliant... One sequence involving a tap dancer, a jam session and a house party is arguably the most joyous five minutes you're likely to experience in a theater this year... This is the true gem of 2009; don't miss it."
"This charming Boston-set, black-and-white 16mm musical from Damien Chazelle is the kind of movie a young Cassavetes might have made were he working for MGM's Freed Unit. The romance and breakup of the titular sweethearts (Jason Palmer and Desiree Garcia) make up the film's first 10 minutes, leaving the remaining time for Guy's trumpet solos, Madeline's tap dance at the tourist-trap resto where she works, and the possibility, as in all great musicals, that adventure lies just around the corner."
"Mishmashing myriad influences — Cassavetes, Godard, Bujalski, Woody Allen, Astaire-Rogers — writer-director-editor-lyricist Chazelle fashions something new: the first Mumblecore Musical. It’s a black-and-white, naturalistic, 16mm exploration of young people and their romantic affairs that plays out on Boston streets and in apartments. But instead of awkwardly stammering their way around What They Mean, Guy (Jason Palmer) and Madeline (Desiree Garcia), respectively, play the trumpet and spontaneously slip into song. It’s affecting, endearing, and, even better, toe-tapping."
"The success of Guy and Madeline on a Park Bench, the striking debut from 24-year-old Damien Chazelle, was completely unforeseen. Like a renegade jazz riff off of The Umbrellas of Cherbourg directed by Andrew Bujalski... This is the fun, energetic, and completely unencumbered indie musical I had hoped Once might have been."
"Involving, entertaining, moving, and humorous... Once upon a time, young French filmmakers made their exhilarated versions of the Hollywood musicals they loved. Now, a young American filmmaker offers his take on the French versions of these films. The profusion of talent on display in this work -- acting, directing, scoring -- seems crowded in the confines of a 16-mm frame. Imagining what Chazelle and his collaborators might do with a larger budget inspires dreams of the millenial-generation cineastes imbuing new life into a spectrum of different genres and giving birth to new recombinations."
Interview with Damien Chazelle.
"A movie of this time and moment... It's a whimsical experience, my favorite film of its kind in some time, and not just because, like the protagonists' favorite song, 'I Left My Heart in Cincinnati.'"


"For jazz listeners, it is the must-see film of the festival..." 
"The genius of Guy and Madeline lies in the tension between its boho diffidence and some intense, expressive musical interludes. And Chazelle is an ingenious musical director... One sequence, with a bearded dude dancing all over a crowded party, is particularly brilliant; who knew a first-time director could manipulate space with such virtuosity?... Chazelle is a major new talent."
"One of the Top Ten Films of 2009"
