Chicago Tribune by Michael Wilmington

Like most Godard, it can be watched repeatedly, always yielding new secrets and beauties. Most profound of all, perhaps, are those incredible black-and-white images of Paris.

Philadelphia Inquirer by Carrie Rickey

An elusive and profoundly moving essay about the stages of amour and of age. Like the best of Godard's movies -- and I haven't been sucked into one since "Passion" (1982) -- it is visually ravishing, penetrating, impenetrable.

Christian Science Monitor by David Sterritt

Witty, contemplative, and sublimely beautiful.

L.A. Weekly by John Powers

In its formal daring and exquisite style, the movie is itself an act of resistance against what Godard sees as a modern triumphalist culture that turns historical truth to lies and love to images created to make money.

L.A. Weekly

In its formal daring and exquisite style, the movie is itself an act of resistance against what Godard sees as a modern triumphalist culture that turns historical truth to lies and love to images created to make money.

Washington Post by Desson Thomson

I don't pretend to understand a darned thing about Jean-Luc Godard's In Praise of Love...But it's undeniably powerful and, if you're up for the experience, exhilarating.

Los Angeles Times by Manohla Dargis

Godard has always made films that are as thrilling for their ideas and ideals as for the sheer beauty of their images; the difference here is that for the first time in years he's more interested in turning us on than in turning us off.

Village Voice by J. Hoberman

A sustained immersion in gorgeously austere street photography and casual portraiture, the images punctuated by bits of black leader and gnomic intertitles, the action propelled by sweetly pulverized music and an effortlessly layered soundtrack of enigmatic conversations. Poetry is really the only word for it.

Arizona Republic by Richard Nilsen

In Praise of Love has virtually no plot, no characters and is not about love, and there is precious little praise in it. It's an essay in film, and it's not always consistent in that: You'll never quite know what he's trying to say. But the film remains great because of the way he says it. Memorable images and dialogue worm their way into your psyche and won't let go. [18 Oct 2002, p.8P]

Chicago Reader by Jonathan Rosenbaum

This is a twilight film, full of sorrow yet lyrical, beautiful, and dark.

New York Post by V.A. Musetto

Think of it as the rantings of a grouchy old man (he's 71) who for half a century has resisted all efforts to dumb down his movies, insisting instead on making them HIS way and no other.

TV Guide Magazine by Ken Fox

Brimming with ideas, aphorisms, diatribes, film clips and even bits of a story, the film's a gorgeous muddle that somehow manages to leave one both baffled and deeply satisfied.

The A.V. Club by Keith Phipps

Its gloomy speculations on the ephemeral nature of art are paradoxically not easily forgotten, and Godard's daring again pays off, or at least comes close enough to get credit for trying.

Boston Globe by Ty Burr

At one point in ''Praise,'' Godard mentions that the Bois de Boulogne, the Parisian park, is all that's left of the French forests from the time of the Roman conquest. In Praise of Love, glowing like an ember, is all that's left of genius.

Salon by Charles Taylor

Gives no indication that Jean-Luc Godard has anything left to say that is worth hearing, no indication that he has any drive or passion to continue making movies. What's on the screen is habit -- accomplished, rote, empty.

Portland Oregonian by Shawn Levy

The bitterness of the film is a far cry from the peppy young Godard's embrace of life -- and a very far cry indeed from either praise or love.

New York Magazine (Vulture) by Peter Rainer

I found myself staring at his new one, In Praise of Love (Éloge de l'Amour), in a state of rapt annoyance and befuddlement. It's constructed in two sections, which are far more fractured and opaque than the simple description I will here try to set out.

New Times (L.A.) by Gregory Weinkauf

Rarely does an established filmmaker so ardently waste viewers' time with a gobbler like this -- it's pretty shocking that this thing isn't even artsy. Barring a few brief moments of instantaneously fizzling inspiration, it's merely fartsy.