All Critics (35)
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Top Critics (10)
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Fresh (8)
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Rotten (27)
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DVD (4)
The far-fetched plotting eventually goes so far over the top that pic flirts with inventing a new genre of film noir camp.
It would be facile to say it substitutes style for content; actually, it substitutes stylishness for style.
Stylistic but ultimately unsatisfying.
For all its promise, and for all the brittle beauty of Dariusz Wolski's cinematography, Romeo Is Bleeding eventually collapses under the weight of its violent affectations.
Romeo is most notable for being the first film of the year to cash in on post-Bobbitt fears of castrating (and worse) females.
Basically, there's nothing new or revolutionary about Mona.
It's a senseless, tasteless and demented postmodern noir that has about as much class as a gimpy $10 Times Square hooker.
This is a battle-of-the-sexes movie played out at such a pitch of pervsity and amorality that it ultimately becomes rather laughable.
[It's] never content with one cliche when it can shovel on ten.
The cast tries to make up for the script's hollowness by hurling themselves headlong into the sort of bloody, sweating, spittle-spewing performances that can sometimes turn thin material into personal triumphs, but to little avail.
An underrated gem. Gary Oldman is amazing.
Film noir at its worst and most excessive, an exercise in style, marred by ridicuolous voiceover narration and incomprehensible plot points; Lena Olin gives a sexy over the top performance.
Hilary Henkin's script isn't as smart as it thinks it is, and only Olin's breathtakingly excessive femme fatale hits the right note of campy panache.
Perversely fascinating. Solid direction from Peter Medak.
Offbeat noir buoyed mostly by its offbeat actors
Cynicism, greed and wonderfully florid dialogue radiate throughout every scene in director Peter Medak's quirky and constantly inventive new film noir.
Olin is one of the most vile female protagonists to ever walk out on a screen. Made little chinchillas run up and down my spine.
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