Eros

Eros

34%
  • Eros
    1 minutes 14 seconds
    Added: May 9, 2008

Eros Reviews

Trevor Johnston
Time Out New York
Top Critic
August 16, 2007

Jonathan Rosenbaum
Chicago Reader
Top Critic
July 31, 2007

I guess one out of three ain't bad.

Joshua Rothkopf
Time Out
Top Critic
February 9, 2006

Three smart filmmakers produce three whiffs on the theme of love.

Scott Tobias
AV Club
Top Critic
September 26, 2005

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.

Lisa Kennedy
Denver Post
Top Critic
July 8, 2005

It is fairly melancholy news that the works of two of Antonioni's admirers outshine the master's segment.


St. Louis Post-Dispatch
Top Critic
July 5, 2005

Andrew Sarris
New York Observer
Top Critic
April 28, 2005

Eros comes nowhere near meeting the challenge of its title when compared to the increasingly lewd standards of our current cinema.

Stephen Whitty
Newark Star-Ledger
Top Critic
April 14, 2005

There's one good movie in here, sure. But unfortunately, it's over after the first 43 minutes.

Full Review | Original Score: 2/4
Rex Reed
New York Observer
Top Critic
April 14, 2005

A triptych only a film festival could love.

Richard Roeper
Ebert & Roeper
Top Critic
April 11, 2005

It's really interesting stuff.

Ann Hornaday
Washington Post
Top Critic
April 8, 2005

A collection of bagatelles that, with one exception, fails to live up to its promise.

Mick LaSalle
San Francisco Chronicle
Top Critic
April 8, 2005

The three films are watchable but resolutely minor works, though each has something to recommend it.

Full Review | Original Score: 2/4
John Hartl
Seattle Times
Top Critic
April 8, 2005

All the stories deal with sex, all three segments tend to photograph their leading actors unflatteringly and all three reveal prominent writer-directors at low ebb.

Lou Lumenick
New York Post
Top Critic
April 8, 2005

A flaccidly pretentious and snooze-inducing trilogy of allegedly racy tales.

| Original Score: 1/4
Jack Mathews
New York Daily News
Top Critic
April 8, 2005

When the producers of Eros... described what they wanted from Hong Kong director Wong Kar Wai, American Steven Soderbergh and Italian master Michelangelo Antonioni, they must have written the memo in Chinese.

Full Review | Original Score: 2/4
Roger Ebert
Chicago Sun-Times
Top Critic
April 8, 2005

I return to Wong Kar-Wai's 'The Hand.' It stays with me.

Carina Chocano
Los Angeles Times
Top Critic
April 7, 2005

Arranged in order of descending success.

Full Review | Original Score: 2.5/5
Scott Foundas
New York Times
Top Critic
April 7, 2005

A trilogy of short films by Wong Kar-Wai, Steven Soderbergh and Michelangelo Antonioni dealing, sometimes obliquely, sometimes more directly, with sex.

Full Review | Original Score: 2.5/5
Colin Covert
Minneapolis Star Tribune
Top Critic
April 7, 2005

All in all, Eros is a mixed bag, and a mostly empty one.

Full Review | Original Score: 1.5/4
Desson Thomson
Washington Post
Top Critic
April 7, 2005

Becomes steadily worse as it goes along.

Jan Stuart
Newsday
Top Critic
April 7, 2005

Wong's is the sexiest, Soderbergh's the funniest, Antonioni's the most Italian.

Full Review | Original Score: 2.5/4
Bob Longino
Atlanta Journal-Constitution
Top Critic
April 7, 2005

Wong and his always moody, intense cinematography deliver in spades.

Full Review | Original Score: B
David Rooney
Variety
Top Critic
April 7, 2005

The venture's extreme unevenness will make it commercially viable mainly as a DVD curio.

Michael Wilmington
Chicago Tribune
Top Critic
April 7, 2005

This justly renowned trio combine for an ambitious original anthology of international sexual tales, and the results are variable, stimulating and quite different in tone and mood.

Full Review | Original Score: 3.5/4
Ella Taylor
L.A. Weekly
Top Critic
April 6, 2005

A maddeningly uneven triptych about the vagaries of sexual longing.

Lisa Schwarzbaum
Entertainment Weekly
Top Critic
April 6, 2005

For the invited filmmaker, the opportunity to make a statement is surely a thrill, but for the viewer -- who can't pause indefinitely, as with a book, between stories -- the focus-shifting is a demand.

Full Review | Original Score: C+
Michael Atkinson
Village Voice
Top Critic
April 5, 2005

Antonioni fans should steer clear, lest their idolatry become disquieted.