Christopher Orr in The New Republic:
A Very Long Engagement is all that its title promises. At two and a quarter hours, it is the longest film yet by French director Jean-Pierre Jeunet; happily, it is also the most engaging, a stylish and satisfying epic of love and war, hope and memory.
After an early career of directing shorts and commercials, in 1991 Jeunet and partner Marc Caro broke into feature films with the post-apocalyptic black comedy Delicatessen. This was followed by City of Lost Children, another meticulously designed dystopian nightmare. Jeunet and Caro then went their separate ways, with Jeunet pinballing from the embarrassment of Alien: Resurrection to the redemption of Amélie. Throughout this period, it was easy to view Jeunet as essentially a technical director, a kind of Gallic Tim Burton, with a gift for visual dreamscapes but an uneven knack for storytelling. Even in Amélie, his most successful film, the breathless whimsy and directorial gimmickry that made the first hour such a delight began wearing thin well before the film was over.