Jacques Tati’s beloved second feature has even less narrative structure than JOUR DE FÊTE which can leave the gags (on the miseries and absurdities of people working very hard at having a relaxing vacation) dangling on their own. This is fine when the comic conceptions hit, but tedious with the high ratio of forced comic business found here. Why this became the 'go-to' Tati pic is a bit of a mystery. Perhaps it was simply the first to get proper international distribution. He’d fully recover (and then some) on his masterful follow-up, MON ONCLE. Still, even working at half-mast, there's just about nothing like Tati. Original and untouchable.
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