Portland Oregonian by M. E. Russell

De la Iglesia is a mercilessly agile talent.

Film Threat by Eric Campos

A wicked good time.

Chicago Tribune by Michael Phillips

It's great fun, propelled by a terrific musical score by Roque Banos that combines the hammering doom of Bernard Herrmann, the antic jollity of Nino Rota and the urgent sprints of Lalo "Mission: Impossible" Schifrin--often in the same crazy scene.

Dallas Observer by Luke Y. Thompson

Tremendously funny and entertaining.

Salon by Stephanie Zacharek

El Crimen Perfecto is a joyride that leaves you feeling drunk and dizzy and swearing that you haven't touched a drop.

Los Angeles Times by Kevin Thomas

Perfectly delightful.

L.A. Weekly by John Patterson

Writer-director Alex de la Iglesia's bouncy, swaggering satire of ethics-deficient, survival-of-the-fittest free enterprise, peopled by broad grotesques and hysterical caricatures, adds Chabrolian callousness to a cartoonish worldview reminiscent of Frank Tashlin or Joe Dante at their most frenzied.

San Francisco Chronicle by Walter Addiego

With his caustic humor, director de la Iglesia is being billed as "the next Almodovar."

Boston Globe by Wesley Morris

If anyone is capable of pulling off a deviled screwball with cheeky panache, it's de la Iglesia, who's one of the world's great nutty directors yet to find the American following he so richly deserves.

The A.V. Club by Scott Tobias

As it progresses from black comedy to something approaching surreal horror, El Crimen Perfecto swells into a nightmare reminiscent of Griffin Dunne's journey through Soho hell in "After Hours."

Chicago Reader by J.R. Jones

A seamless mix of satire and suspense, with inspired performances by Toledo and Monica Cervera.

The New York Times by Lawrence Van Gelder

Mr. Toledo's performance as the shallow and cowardly, yet strangely sympathetic Rafael is a wonder of comic timing, while Ms. Cervera is unforgettable as Lourdes, the ugly duckling who becomes not a swan, but a monster.

New York Post by V.A. Musetto

There's not enough good material to fill the film's overlong 105 minutes. Is there an editor in the house?

Village Voice

At its most ludicrously self-referential, the film achieves the perfect meta-moment when Toledo, seeking pointers on how to get away with murder, buys a copy of "Dial M for Murder" (released in Spain as Perfect Crime) and notices the title scans incorrectly as Ferpect Crime.