Wall Street Journal by Joe Morgenstern

Movies often turn on slender notions worked up to look like full-fledged ideas. Once in a while, though, a notion will be fertile to begin with, a self-renewing source of delight. That's the case with Luc Besson's Angel-A.

TV Guide Magazine by Maitland McDonagh

There's always been a wide streak of the tediously naughty little boy in Besson, and all the seductively stylized images in the world can't hide it.

USA Today by Claudia Puig

Its strongest asset is the stunningly poetic cinematography by Thierry Arbogast.

The New York Times by Stephen Holden

Rie Rasmussen and Jamel Debbouze, the stars who portray Angela, the celestial therapist, and André, her star patient, display enough screwball romantic charm to keep this sugary trifle afloat longer than you'd expect.

Rolling Stone by Peter Travers

What nearly saves the movie, besides the Rasmussen eye candy, is Paris itself, shot in shimmering black-and-white by the gifted Thierry Arbogast. Talk is cheap here, and often inane, but as a silent film, Angel-A could have been magic.

Village Voice

Amiably inconsequential fairy tale.

Variety by Lisa Nesselson

For his (Besson) fans, Angel-A is an achingly sincere but protracted effort to trade mostly action for mostly dialogue.

Los Angeles Times by Kevin Crust

In essence, you get "It's a Wonderful Life" meets "Wings of Desire," swapping out the substance for self-help platitudes. If you can get past that, you can enjoy it as a 90-minute look at a lovely postcard.

The A.V. Club by Nathan Rabin

At heart, it's just the latest from one-man industry Luc Besson, so even though it looks like art, it plays like schlock.

Entertainment Weekly by Owen Gleiberman

Angel-A shows how director Luc Besson can be French in a way that even the French might despise...Quel ick. And très tedious.