The rain still drips like tears in Wong's faintly lit alleyways, the paint in his narrow corridors continues to peel, the floral-print curtains in his '60s drawing rooms still billow in the breeze--but the colors have faded...
The chatter in the lobby, I predict, will be from people wondering how and when [Antonioni] flipped his lid... The film is a failure, no matter how grandiose its title or the names above it.
| Original Score: 2/5
I guess one out of three ain't bad.
Three directors combine short films to form a triptych about love. The problem? The connections are tenuous at best. These are really three films marketed as sharing a theme.
| Original Score: C-
Three is a crowd, and Wong and Soderbergh would have got along just fine without Antonioni there to wreck the marriage.
| Original Score: 2.5/5
If there's a point to any of this, it's the supposedly therapeutic revelation that major female mystery lies in what you can discover by rifling through her purse.
Anthologies by their inherent nature tend to be highly uneven. And Eros proves no exception, with the individual sections ranging from the sublime to the ridiculous.
| Original Score: 3/5
An excruciating festival of middlebrow good taste.
An intriguing but ultimately frustrating triptych.
All three short films were minor works.
| Original Score: C
Feels like an experiment that you'd be happy to catch during a film festival ... right before you nodded off for a solid 90-minute catnap.
Eros demeure une expérience réussie en son genre, même si aucun des cinéastes invités ne réussit réellement à repousser les limites de son propre cinéma
| Original Score: 7/10
Three smart filmmakers produce three whiffs on the theme of love.
The auteurist feast turns out to be a paltry spread, with one director on autopilot, another playing it safe, and the last apparently working on assignment for the European Red Shoe Diaries.
A trio of films by Antonioni and two other directors dealing with the subject of sexual fantasy and obsession.
| Original Score: B-
It is fairly melancholy news that the works of two of Antonioni's admirers outshine the master's segment.
No matter what caliber of talent is on board, omnibus anthology pictures are almost doomed to be uneven affairs.
| Original Score: 2/4
Eros aims high. But aside from Wong Kar-Wai's effectively compressed erotic musings, it falls short.
At least the editor had the good sense to place Antonioni's film at the end, allowing you to walk out without having to see a cinematic great in pathetic decline
| Original Score: 3/4