90
Shot in sumptuous black-and-white by Dreujou, Girl on the Bridge might just be the most beautiful-looking movie of the year.
What are people saying?
What are critics saying?
60
The New York Times by Dana Stevens
Leconte's visual instincts are so impressive that they outstrip his story, leaving us flushed and dazzled, but also, as after a long night of champagne and baccarat (to say nothing of other irresponsible pleasures), hungry, tired, and homesick.
70
Los Angeles Times by Kevin Thomas
Locale is crucial here, and Monte Carlo, Athens and Istanbul are a wonderful trio of cities for glamorous romance, intrigue and danger--and they could not seem more richly atmospheric with Dreujou's lush camerawork.
91
Entertainment Weekly by Lisa Schwarzbaum
Leconte (''Ridicule'') gives his heart to the luck of romance, to the dream state visual style of Fellini, and, most lyrically, to the passion of the dagger point swoon.
60
TV Guide Magazine by Maitland McDonagh
This rather obvious parable about soul mates benefits from luminous B&W cinematography, Paradis and Auteuil's luminous performances and the picturesque carny atmosphere.
89
Austin Chronicle by Marc Savlov
New and amazing -- it takes you back to the days when French filmmaking and French filmmakers were the darlings and saviors of the cinematic cutting edge. It's a great film, simply told, and a pleasure to watch.
100
Rolling Stone by Peter Travers
Paradis sizzles in a star-making role that gleams like one of Gabor's blades. She's a spellbinder.
88
Chicago Sun-Times by Roger Ebert
What's best about the movie is its playfulness.
91
Portland Oregonian by Shawn Levy
It's a film of sneaky power, peculiar delights and, finally, the ability to dazzle.
100
Philadelphia Inquirer by Steven Rea
Girl on the Bridge, with its doomed art-house romanticism and echoes of Fellini, may not be the deepest piece of filmmaking out there now, but it is easily the most intoxicating. Take the leap.