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This is a classic case of moral ambivalence. Audrey Tautou, hypnotising us as usual with her big soulful eyes, plays someone of less than salubrious character, in fact a totally amoral gold-digger. The film is actually a study of gold-digging. Gad Elmaleh is the hapless intoxicant, drowning in the beauty of Audrey, a kind of Tautouholic, and who cannot understand that? So he starts out straight and gets sucked into this world of sell yourself for cash, and sticks with it because while they are in the same luxury hotels being paid to be sex toys by rich older people, he gets to spend his spare moments with her. The girlie friendship between them as prostitute colleagues drives him crazy because he loves her, but it is the only way he can be near her. The film has many hilarious moments, if being a prostitute is hilarious, and the story is about whether Audrey will discover what is 'beyond price', namely that thing called love. Audrey's talent for mania comes out especially in the scene where she goes wild with lust for a new dress which she sees for sale. She wants money, she wants things, and ultimately this is a morality tale about whether she can get beyond these delusions. Elmaleh was an excellent choice for the fellow, and he does a superb job in being sensitive and befuddled as he does what a man has gotta do to hang in there somehow. Will she crack? Audrey meanwhile exudes waves of warmth and creates a real individual out of someone who could so easily have been a cardboard cutout character. The screen is awash with her charm, one wants to wade out into that surf, like Elmaleh, knowing that one could easily drown. Will he? Does he? I'm not going to tell. Notch up one more irresistible vehicle for Audrey Tautou as she continues her march through unmissable film after film. But the mystery as to who and what she is deepens, because the more she is exposed to our view, the less we can really see of her, as she is the ultimate chamaeleon, of whom we will always know a diminishing amount as she progressively turns herself into a legend.

Audrey Tatou is stunning, giving a complex performance as the sexy, conniving, vulnerable and ready to love Irène. The character is a gold-digger reminiscent of that other Audrey, Hepburn, in Breakfast at Tiffany's, and Priceless manages to achieve the same tension of elegance and decadence, playful banter and fraught undertones. There is something very dark about the scene where Irène, dumped by her latest rich beau, and left literally with only the bikini she has on, sits shivering at poolside while the sun sets and the place chances from bathers to dinner jackets. In an instant she goes from queen of her arena to a spectator. It is a complex tone shift few Hollywood (or British) rom-coms manage to attempt, never mind pull off.

Gad Elmaleh as Jean is perfectly love-struck and versatile. Strong support comes from Marie-Christine Adam as the hard but equally self-deluding Madeleine, and Vernon Dobtcheff as Irène's first victim, Jacques. There is something quite grown-up and yet naively innocent about this film, with characters who can do the most awful things but never enough to stop you caring about them. Vivid colour palette, and slickly shot, the music works well, too. Well worth seeing.

I loved this movie. The cast was well acted, the relationships kept me at the edge of my seat as there were always suspense and thrills with every single relationship and this includes the spotlight characters. Every actor's facial expressions, not outcasting the supporting roles were so well acted that every one had me guessing, worrying the conditions of the relationships every second.

This is a great break away from Hollywood comedies/romance movies these days and it gives me great relief that great films like this still exists! So, if you've gotten used to movies filled with senseless sex, random nudity-all the ingredients of these days' plot less "romantic teen comedies", you wouldn't like this movie.

That having said, loved Audrey Tatou's acting-AS ALWAYS. She made me hate her guts in the beginning, then sympathize with her, feel happy for her, as she discovers and attempts to claim her love.

I've just been introduced to Gad and truthfully, I was really not looking forward to seeing him in it because he looks too skinny, his features too pointedly brought together to be instantly attractive for a romantic role like this. And, this is the case in the beginning. However, he surprises me as time progresses-and I unconsciously got sucked into his talented, fabulous acting. Now all I can see is a foxy, sexy guy with a lot of wits who can melt any female in a second.

Overall this is a great film about relationships, discovery, interaction between realistic people, human values that are often taken for granted and forgotten these days, altogether stringed with sweet icings of hysterical laughters from easy humour, not to mention loveeee and romannceee!!

A charming, classy comedy of morals as only the French can do it. This was also the milieu of the great German-born American director Ernst Lubitsch, who flourished between the 20's and the 40's.

The theme of mutual con games mixing sex and money reminded me very much of Lubitsch's 1932 classic, "Trouble in Paradise", which shows up on TCM every once in awhile. See "Priceless" and rent "Trouble" and see if you agree.

This is not a masterpiece, but it is a very clever, witty and enjoyable film with an excellent cast. As always, Tautou is a delight. Cudos also to Gad Elmaleh as the bartender/dog walker Jean and Marie-Christine Adam as the rich widow.

This film could be called very French. It takes place in the south of France, a playground between/among men and women, has style and is set in stylish places such as hotels and "haut couture" stores.The female character, and even the male one, are amoral but not judged as such by the director and not severely so by the men and women they service. Some of the reviewers have referred to Irene (Audrey Tatou) as a prostitute. This isn't quite correct. She was a courtesan: a professional mistress chosen as much for her companionship in public as well as private. Like most famous courtesans (e.g "La Dame aux Cammillias") she seems to have come from poverty of some sort--and is thus rather tough.And Jean could probably be called a gigolo, though the elderly lady who pampers him has only minimal illusions as to why he's with her. That could be the point: the middle-aged and elderly rich people they play up to are themselves at fault if they want "young stuff" around as companions instead of seeking company their own age. I did like the ending with the Euro.