Pi Reviews

April 11, 2018
A tour-de-force of grainy, high-contrast black-and-white photography and inventive editing and sound design, π at times ventures to the limits of cinematic legibility.
September 7, 2011
March 29, 2009
Aronofsky, who has parlayed this movie's Sundance success into two Hollywood deals, is that rare indie filmmaker who doesn't want to make hip romantic sitcoms. He's a genuine experimenter with a spooky visual style.
February 29, 2008
We share Max's feelings of imminent psychological disintegration as the film probes our own insecurity in the face of the eternal. Maths meets millennial doom in one of the decade's true originals.
June 6, 2007
It's remarkable to what extent Aronofsky has rendered the cerebral kinetically intense. The film's imaginative, diverse images create a mind's-eye urban claustrophobia.
July 12, 2002
Audacious and bursting with ideas.
December 19, 2001
The movie's low-budget look neatly matches the claustrophobia of Max's life, but the filmmakers have also devised some special shooting methods for certain scenes. These sequences -- breathless and jangly chases, for the most part -- look terrific.
April 17, 2001
Pi is a lesson to aspiring film makers everywhere: perfect your skills, be original, be bold. It's a pity young British directors aren't making films as unique and imaginative as this. Startlingly good cinema.
January 1, 2000
It all leads to a very strange place, and I'm particularly impressed with the economical means, both financially and artistically, by which Aronofsky gets there.
January 1, 2000
The seductive thing about Aronofsky's film is that it is halfway plausible in terms of modern physics and math.
January 1, 2000
The cinematic equivalent of a full-bore panic attack, sweaty palms, rapid heartbeat, and all.
January 1, 2000
As smart as it is, 'Pi' is awfully hard to watch. Filmed with hand-held cameras in splotchy black-and-white and crudely edited, it has the style and attitude of a no-budget midnight movie.
January 1, 2000
Pi turns what should be a metaphoric relationship into a stupefyingly literal-minded thriller.
January 1, 2000
Shot in grainy, high-contrast black-and-white with a lot of simple but effective optical and aural tricks to suggest the workings of Max's unusual mind, this is one of the most intimate movies in recent memory.
January 1, 2000
January 1, 2000
Transports us to a world that is like yet unlike our own, and, in its mysterious familiarity, is eerie, intense, and compelling.
July 10, 1998