30
Washington Post by Ann Hornaday
Indeed it looks as if this otherwise straight-to-video endeavor, which was made in 2003, is being released only to cash in on Bernal's of-the-moment-ness in Hollywood.
What are people saying?
What are critics saying?
30
Village Voice by Ben Kenigsberg
The movie finally undermines all pretensions of satire with its geeky eagerness to subvert expectations.
40
Los Angeles Times by Carina Chocano
First-time writer-director Matthew Parkhill prefers to lean on clever plot devices, amp up the roles of the movie's sideline jesters, crank up the static noise and fail to notice that his engaging little romance has broken with reality and veered into hollow pastiche.
40
Parkhill's heart seems to belong to 1940s film noir, where a lonely man could be driven half-mad by the sight of a mystery woman performing a hot flamenco dance, a scene Parkhill stages here to unintentional titter-inducing effect.
40
But behind its slick veneer and the glibness of its preposterous premise and dark twists, there's a yawning absence of charm or substance in this London-set love triangle, as well as a lack of chemistry between its three leads.
30
The plot's profound implausibility wouldn't matter if the ideas and emotions behind it had any power.
42
Entertainment Weekly by Lisa Schwarzbaum
The movie is in love with its own story loops and fancy, pop-dream cinematography from Almodóvar associate Affonso Beato, which is fine; it's also in love with its own indie-culture cleverness, which isn't.
60
Washington Post by Michael O'Sullivan
Satisfies and disturbs in just about equal measure.
50
San Francisco Chronicle by Mick LaSalle
A clever, atmospheric romantic drama that lacks something.
40
The New York Times by Stephen Holden
If Dot the i, the directorial debut of Matthew Parkhill, has a crass visual flash, it fails to give its characters any credible substance. Even after it purports to eviscerate their psyches, they remain diagrammatic contrivances.