"The Woman in the Fifth" leaves so many holes unfilled that instead of ending up intriguing, it's just plain frustrating.
| Original Score: D+
Those who prefer tidy, "Murder, She Wrote" closure are advised to shop elsewhere.
| Original Score: 3/4
A thankless lead vehicle for Ethan Hawke who's left largely stranded by writer-director Pawel Pawlikowski's opaque adaptation of Douglas Kennedy's novel.
| Original Score: 2/5
The movie casts such a seductive air of mystery that the resolution feels anticlimactic, yet there's plenty to enjoy along the way, particularly Hawke's nuanced lead performance as a quiet man with secrets of his own.
When do we first sense reality slip away? Do we? Can the film be accepted on its own terms? Can the point of view be trusted?
| Original Score: 3.5/4
It is guaranteed to haunt you for awhile.
The Woman in the Fifth is an interesting chameleon until it runs out of disguises, and all that was transitory just looks transparent.
| Original Score: 2.5/4
Pawel Pawlikowski's great-looking but pretentious adaptation of a Douglas Kennedy novel.
| Original Score: 1.5/4
It's a curio, ripe with dreamy atmospherics and intriguing mysteries, but little else.
[It's] watchable and enjoyable, but it's fairly impenetrable, and it gets more peculiar as it goes along.
Although Mr. Pawlikowski often shows Mr. Hawke in medium and long shots, the actor draws you close.
| Original Score: 3/5
We are never sure if what we are seeing is actually happening, including the nature scenes that Pawlikowski interjects as contrast to the urban jungle - and also as a symbol of man's animal nature.
I wouldn't have minded a little more time with these characters, before they faded away into the gray Paris sidewalks.
This pensive, seductive drama is full of devious strategies, which begin with its protagonist's name: T. Ricks. Tricks.
The Woman in the Fifth fairly oozes enigma; if only it could drum up something to be enigmatic about.
Pawlikowski can't decide what to do with his protagonist, whose writer's block is the least of his emotional burdens.
[Pawlikowski] creates a nice sense of paranoia and multicultural bewilderment that's the welcome tonal opposite of Woody Allen's romanticized Midnight in Paris fripperies.
| Original Score: B-
You realize you've been watching an object that's all surface, no soul.
You're not sure what this is till it's over, but certainly Hawke's performance is his nerviest and most sincere in a decade.
Grief and a cruel search for companionship and belonging hang painfully over the film and work to counter some of its more frustrating loose ends and anti-climaxes.