Luc Besson--and Andrew Birkin wrote the pandering, adolescent screenplay for this pseudosubversive hagiography, and nearly every scene screams out its sensationalist intent, though few actually achieve the status of spectacle.

Halfhearted food movie that's also a romantic comedy crammed with issues.

The passionate and carnivalesque sense of politics reminded me at times of "Dog Day Afternoon," but despite the absence of cynicism this is a 90s story in every sense of the word

A fascinating humanist experiment and investigation in its own right, full of warmth and humor as well as mystery.

By the time the fighting between clones and their originals turned to fraternal bonding, I was quite moved, even blissed out.

Viewers have almost two hours to become thoroughly disgusted.

You feel it in your nervous system before you get a chance to reflect on its meaning.

This mild thriller's consistently dark atmosphere makes the scene-of-the-crime tableaux...transcend exploitation and even suggest a kind of feminist odyssey.

The narrative emphasizes coincidences, but they're nicely understated. If it didn't seem gimmicky and self-indulgent...the movie might be more affecting.

Almost cagily creating understated drama from high-stakes reality.

Compels questions about Kinski's bravado and artistry, and suggests that it might not always be easy to distinguish his from Herzog's.

Often coming across as simultaneously out of control and self-possessed, Borchardt can't have been an easy target, but the filmmakers seem to have nailed him.

Essentially a one-trick pony.

A painstakingly crafted nonrealist story, which doesn't seem to imply anything beyond what it depicts.

Ultimately this is a sharp-focus issue movie, decrying intolerance as it explores the effects of labeling, the complexity of fetishizing, and the differences between business and crime.

The movie's repeated attempts to combine seriousness and humor as in a blender give it a dysfunctionally earnest tone.

Self-congratulatory feature, which artificially exalts the character--a classic saint with clay feet--by casting a grande dame and by reducing her motives to facile psychodrama

Conveys little sense of a connection, as if di Florio had made it mainly because she had access to a celebrity.

The film's storytelling and heartfelt pantheism are both impressive.

This outrageous comic fantasy may not sustain its brilliance throughout all of its 112 minutes, but it keeps cooking for so much of that time that I don't have many complaints.

Takes a while to arrive at what it has to say, but some of the performances kept me occupied in the meantime.

Beautiful story of doomed love.

Nicely toned.

The bitterly beautiful black-and-white industrial and residential landscapes reflect the sense of anonymity felt by the characters.

A text that provokes thought more than directs it, which should fascinate new and repeat viewers for a long time.

Powerful, funny romantic drama.

All I saw were unimpressive digital effects; artless, quick-cut abstracted gore; and a last-ditch attempt to evoke a visceral response by heaping the climactic scene with bat shit.

The script...and Rob Reiner's direction...bristle with phoniness.