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100Girl 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.
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100Paradis sizzles in a star-making role that gleams like one of Gabor's blades. She's a spellbinder.
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100The gleefully assured tale of a professional knife-thrower who finds a quirky new target... hits the bull's-eye.
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91Leconte (''Ridicule'') gives his heart to the luck of romance, to the dream state visual style of Fellini, and, most lyrically, to the passion of the dagger point swoon.
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91It's a film of sneaky power, peculiar delights and, finally, the ability to dazzle.
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90Shot in sumptuous black-and-white by Dreujou, Girl on the Bridge might just be the most beautiful-looking movie of the year.
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90Gorgeously silly.
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90Simply, one of the year's best films.
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89New and amazing -- it takes you back to the days when French filmmaking and French filmmakers were the darlings and saviors of the cinematic cutting edge. It's a great film, simply told, and a pleasure to watch.
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88What's best about the movie is its playfulness.
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88Paradis 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.