|Legend Films | Release Date: July 28, 2000||CRITIC SCORE DISTRIBUTION|
Girl on the Bridge, with its doomed art-house romanticism and echoes of Fellini, may not be the deepest piece of filmmaking out there now, but it is easily the most intoxicating. Take the leap.
Paradis sizzles in a star-making role that gleams like one of Gabor's blades. She's a spellbinder.
It's a film of sneaky power, peculiar delights and, finally, the ability to dazzle.
Simply, one of the year's best films.
Paradis is a most striking subject, but the movie is a winner as well, starting with a story full of black-comic possibilities exploited fully by the great French director Patrice Leconte.
Romance, intrigue and old-fashioned movie glamour make a dazzling return in Girl on the Bridge, Patrice Leconte's sumptuous love story with a razor-sharp edge.
Leconte turns up the erotic heat in the most gorgeously photographed black-and-white film since Wim Wenders' sublime "Wings of Desire."
It's surprising how much of the old mood Leconte manages to recapture, how sumptuous he makes the black-and-white cinematography and timeless Parisian and Mediterranean settings look.
I'd take a chance on it anyway, even if it stumbles and loses its way.
(Paradis) delivers what might be the most affecting film performance ever given by a supermodel.
As the sexual tension builds -- and it becomes intense, culminating in a highly suggestive knife-throwing scene more erotic than if the actors had been having explicit physical contact -- Girl takes you on a thrilling ride.
Has a silly, insouciant glamour often employed to sell hair conditioners and perfume.
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