60
Artistically uneven, emotionally strained but at times sullenly poetic depiction of a sexually confused love pentangle.
What are people saying?
What are critics saying?
60
All that's left is to enjoy the ravishing visuals, which range from gorgeously dusky scenes of semidarkness to the sort of smeary neon palettes that Wong Kar-wai has virtually patented.
40
Overlong and very Euro-flavored.
70
Because of the movie's episodic structure and lack of expository detail, the visuals bear the greatest narrative burden.
30
The New York Times by Stephen Holden
The indoor scenes are so dark that you can barely make out the outlines of the bodies, much less distinguish who is who. Because almost half the film is this dim, it makes for a frustrating viewing experience. The jerky cinematography compounds the irritation.
50
San Francisco Chronicle by Walter Addiego
Its examination of identity and loneliness begins to feel like a soap opera season boiled down into one very long episode with too much happening.