Premiere by Glenn Kenny

Olivier Assayas latest effort could be mistaken for a hipper-than-thou thriller. But it isn’t--it’s in fact a difficult, challenging, and troubling art film. [October 2003, p. 19]

Los Angeles Times by Manohla Dargis

It's an exasperating, irresistible, must-see mess of a movie about life in the modern world and so very good that even when its story finally crashes and burns the filmmaking remains unscathed.

Washington Post by Michael O'Sullivan

Disturbing, darkly beautiful.

The New York Times by Stephen Holden

The entrancing visual imagery goes a long way toward filling in the screenplay's gaps in logic.

Chicago Tribune by Michael Wilmington

Unlike almost every other sexy modern thriller (especially most recent studio blockbusters), this one gives you a lot to think about.

L.A. Weekly by Ella Taylor

Nielsen beautifully embodies the sadness and confused sense of unreality that attend our appetite for the Internet's cheaper thrills.

The A.V. Club by Scott Tobias

May be Assayas' airiest work to date, an intriguing trifle that leaves its considerable pleasures to lounge around on the surface.

Chicago Sun-Times by Roger Ebert

By the end of the movie, I frankly didn't give a damn. There's an ironic twist, but the movie hadn't paid for it and didn't deserve it. And I was struck by the complete lack of morality in Demonlover.

Christian Science Monitor by David Sterritt

Never quite jells into a coherent statement. Or a coherent film.

Variety by Todd McCarthy

Sure to turn off general viewers due to its emotional inaccessibility, multitude of narrative problems and preoccupation with a torture Web site.