Trap for Cinderella

RogerEbert.com by

Neither erotic nor thrilling, but rather reliant on cheap nudity and multiple mistaken-identity switcheroos in hopes of keeping us on edge.

Empire by Anna Smith

Some developments seriously stretch credulity and the dialogue doesn’t always ring true. But the performances — including a sinister, matronly Kerry Fox — are as enjoyable as the tawdry film noir vibe.

Slant Magazine by Drew Hunt

Ian Softley is far too interested in the minutia of the plot to bother with the Chabrolian elements of bourgeois excess or the Hitchcockian themes of mistaken identity.

Time Out London by Nigel Floyd

Softley negotiates layers of deceit with skill, but an uncharacteristic visual and narrative tightness leaves one wondering what might have been.

The Guardian by Peter Bradshaw

Looks dated and clunky, like a drawn-out episode of Roald Dahl's Tales of the Unexpected on TV, and the direction doesn't have Softley's usual drive.