Pretentious dialogue is matched by equally uninvolving performances in this debut feature by Sande Zeig.
The only thing hot about this pic were the tender sex scenes...
| Original Score: C-
The Girl resembles the unedited work of an unpromising student filmmaker whose pretension exponentially outweighs her ability.
This is noir-by-the-numbers. See it if you're interested in a nicely-shot film that doesn't quite satisfy.
A curiosity, little more.
| Original Score: 2.5/5
Forces you to endure endless streams of badly written paragraphs of pseudo-poetic existentialism to get to the sex parts.
Its ambition and beauty ultimately triumph over pretense.
Celebrates the emotional and physical liberation that comes with lovemaking, while also recognizing that such exhilaration sometimes carries a price.
The Girl was released after two years in the can. Maybe it should have stayed there.
Numbingly dull and repetitive.
| Original Score: 1/4
This may be a slow film, but there are worse settings for aimlessness.
One senses more intensity in the female-male power dynamic than in the female-on-female couplings, which are stylishly shot but emotionally detached.
| Original Score: 2/4
The kind of chic, academically minded art movie in which pose replaces performance, archetype pinch-hits for character, and that nothing much of interest happens is presumably deliberate.
Offers a certain heady atmosphere and rhythm as it takes its inevitable path.
Instead of providing alluring personalities, Zeig and Wittig create vague archetypes to make their glib ideological points.
Directed by Sande Zeig, The Girl is trying to be stylish and cool, but she gets more laughs and eye-rolls than anything else.
The film has almost no erotic or poetic temperature.
Finally too languid and silly for its own good, with dialogue that could make you wince.
Dreary, leaden lesbian film-noir.
| Original Score: 1/5
A weightless thing, practically erasing itself with all its abstractions and theory.
| Original Score: 2/5