67
Roman De Gare's neatest trick is Pinon's performance, which draws out a hitherto unseen leading-man allure.
What are people saying?
What are critics saying?
70
The New York Times by A.O. Scott
A thriller, a murder mystery and a somewhat self-conscious literary puzzle. All of that is entertaining enough, if a bit preposterous and overdone, but the twists and convolutions of the film’s beginning and end enable a middle that is dizzying domestic comedy.
80
Chicago Reader by Andrea Gronvall
Slyly exploiting audience expectations and prejudices, Lelouch calls into question our very ways of seeing, even as he and his longtime writing partner, Pierre Uytterhoeven, craft an elegant meditation on loss and rebirth.
70
The New Yorker by Anthony Lane
The air of mystery here is appealing, because the secrets behind it seem to matter both a great deal and not at all--rather like love, which has been Lelouch’s subject ever since he made "A Man and a Woman."
88
ReelViews by James Berardinelli
Like nearly any thriller, no matter how intelligently and tightly plotted, it is possible to poke holes in its fabric. But, as it's unspooling in the theater, it makes for a wonderful movie house experience. Here's a sleeper worth a few extra miles' travel to see.
40
New York Daily News by Joe Neumaier
The story's Hitchcockian plot loses steam quickly, though Pinon's salty presence keeps things from getting totally bloodless.
80
The Hollywood Reporter by Richard James Havis
The result is infectiously enjoyable.
75
Roman de Gare translates as "station novel," a book you might pick up to read on a train journey and then discard when you arrive at your destination. Lelouch's film is the cinematic equivalent, enjoyable fluff that your mind will discard after the closing credits - but worth seeing nevertheless.