70
Not so much a genre movie as a movie that switches between genres -- and comes out on top.
What are people saying?
What are critics saying?
60
Here's the thing: We enjoy a good mindf--- lark as much as the next filmgoer, but such fluid tomfoolery eventually has to add up to something, and The Double Hour ultimately doesn't.
80
New York Daily News by Joe Neumaier
A twisty Italian thriller that takes some liberties with its now-you-see-'em/now-you-don't plot points, but no matter; the way director Giuseppe Capotondi keeps us guessing is deliciously, maliciously deft.
63
Doesn't always deliver on its twists. But it works well enough that an American remake is in the works.
85
To say too much about what actually happens would be to rob you of the film's risks and narrative ripostes. What should be noted is that Capotondi makes ambitious use of an unreliable narrator in a way that is rarely seen in modern films.
60
The Hollywood Reporter by Natasha Senjanovic
A smart psychological thriller with the one fatal flaw that Slavic women in Italian television and cinema must be dark, tormented characters who hardly ever smile. In a criminal caper with a twist, this actually works against the story.
50
Village Voice by Nick Pinkerton
The Double Hour sustains a minimum of attention thanks to the naturally beguiling presence of long-stemmed Rappoport-but what might've a less cautious director done with the material?
67
Pretty to look at, making good use of the scenery in and around Turin; if nothing else, the runaway plot keeps the movie unpredictable.
100
The New York Times by Stephen Holden
The best movie of its kind since the French director Guillaume Canet's hit from 2006, "Tell No One."
60
Boxoffice Magazine by Tim Cogshell
The twists and turns in The Double Hour are not arbitrary; rather, they are well considered and effective, right down to the last frame.