30 Beats

Los Angeles Times by

The only payoff to Lloyd's structure is that the young actress Condola Rashad, a recent Tony nominee, is allowed to appear in both the film's first scene and its final segment to bring the story full-circle, though her enigmatic, beguiling presence underlines just the sort of energy missing from the rest of the film.

Arizona Republic by Bill Goodykoontz

It means to be an interconnected story, in which one coupling leads to another in increasingly ridiculous fashion, until you're not only no longer interested, you're grinding your teeth, hoping it will end.

Slant Magazine by Diego Semerene

While it lends itself to some interesting insight on the politics of non-exclusive, fuck-buddy dynamics, its characters are ultimately too one-dimensional and their dialogue too theatrical to sustain an involving cinematic experience.

St. Louis Post-Dispatch by Joe Williams

Where the original play "La Ronde" was a social satire about the transmission of venereal disease, 30 Beats is a sickly stepchild.

Village Voice by Nick Pinkerton

It is absolutely terrible.

Observer by Rex Reed

Director Lloyd leaves it all to the imagination, but in a movie this slow and indecisive, the imagination is no longer enough when we've seen stronger stuff elsewhere.

Variety by Ronnie Scheib

The jazz-scored picture relies heavily on quirkiness to round out shaky characterizations and inject interest into otherwise forgettable pairings.

The New York Times by Stephen Holden

Beyond its eye candy, this wisp of a movie, inspired by Arthur Schnitzler's play "La Ronde," offers only hints of the complicated personalities behind the characters' sleek, well-toned surfaces.