Mary Poppins Returns
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All Critics (33)
| Top Critics (11)
| Fresh (21)
| Rotten (12)
| DVD (3)
Recklessly perched on the edge of the ludicrous, this examination of a destructive erotic passion unfolds with an unsettling mixture of steam and mordant iron.
It's a matter of some dispute whether Roman Polanski's letter to the darker side of the romantic impulse, but there's little question that this is his most emotionally complex movie.
Strong playing by topliner Peter Coyote can't compensate for a script that's all over the map and a tone that veers from outre comedy to erotic game-playing.
Rich and darkly disturbing, it's also wickedly entertaining.
This material obviously appeals to his sense of mischief, which remains alive and well.
I'm not sure what audience Polanski intended this movie for, but I'm obviously not in the target group.
Again, Polanski gives us a deliciously bitter, moonstruck tale of love and sex and revenge and blood, and even the possibility of redemption.
Bitter Moon is half-digested and grossly undramatised, a loop-tape of explanations and voiceover; the longer it goes on, the more it drains our interest away.
[VIDEO ESSAY] A be-all-and-end-all example of erotic drama...
Bitter Moon is entertaining, but in the manner of ghastly car crashes and legendary theatrical disasters; you can't take your eyes off it, but you often want to.
Deliberately provocative, infuriatingly melodramatic, this is a film that begs not to be taken seriously, and requires a ready suspension of moral discernment for maximum enjoyment.
Polanski's study of a marriage based on obsession, lust and cruelty was panned by critics as tasteless pornography, but there's a rich fascination in the film's openly voyeuristic, lurid extremes.
Normally I love Polanski's work, but I didn't know what to think of this movie. First of all it's really long, and there's a lot of talking. There are a lot of erotic scenes, and most of them are good. I didn't know weather I liked it or not, but overall it's an okay thriller/drama.
There are some people who would have you believe that Polanski made little of worth between "Chinatown" in 1974 and his critical comeback "The Pianist" in 2002. I may be biased but I can find something great in just about everything he shoots and I would rate this as one of his best movies. It's a dark and disturbing but blackly comic tale of an obsessive and destructive relationship. Polanski often struggles to bring a film in under two hours, and he doesn't do so here, but it's compulsive viewing from start to finish. Peter Coyote is magnificent and Hugh Grant's stammering upper-class-twit act has never been used to better effect. On the downside, Vangelis' soundtrack is very dreary.
Polanski accomplishes another quest for love in the depths of hell. an outstanding and upsetting erotic drama. Peter Coyote completely steals the movie.
French Emmanuelle Seigner looks bloody hotter in her nudity and sex scenes in this Roman Polanski's tale of obsessive love.
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