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88What's best about the movie is its playfulness.
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60This rather obvious parable about soul mates benefits from luminous B&W cinematography, Paradis and Auteuil's luminous performances and the picturesque carny atmosphere.
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75Leconte turns up the erotic heat in the most gorgeously photographed black-and-white film since Wim Wenders' sublime "Wings of Desire."
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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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75Although the story slips into clichés despite its offbeat subject, Leconte's cinematic style is fresh and vigorous, and Auteuil remains one of France's most engaging actors.
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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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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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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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70Locale is crucial here, and Monte Carlo, Athens and Istanbul are a wonderful trio of cities for glamorous romance, intrigue and danger--and they could not seem more richly atmospheric with Dreujou's lush camerawork.
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75Hand-held cameras give their surface showbiz relationship a sense of immediacy that, like love itself, has more than a hint of danger.
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91It's a film of sneaky power, peculiar delights and, finally, the ability to dazzle.
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75It'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.
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50Painless -- not particularly funny and not even remotely moving.
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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.
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75It's a gloriously baroque vision and Leconte believes in his sequin and sawdust fantasy with such unabashed enthusiasm that he makes it work even through its most absurd moments.
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60Leconte's visual instincts are so impressive that they outstrip his story, leaving us flushed and dazzled, but also, as after a long night of champagne and baccarat (to say nothing of other irresponsible pleasures), hungry, tired, and homesick.
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80Leaves you with a bland message -- titillation may get your wicky-wack going but love and partnership stay the course -- but the way it gets you there is divine.
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75I'd take a chance on it anyway, even if it stumbles and loses its way.
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90Gorgeously silly.
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60The deliberately obvious equating of knife throwing with sex would be funnier if it weren't so serious, and the undercut eroticism is part of what makes the movie themeless, merely a conceptual exercise.
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70A tangy frappe of a movie--preposterously comic, deliriously romantic, outrageously stylish in black-and-white.
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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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63Has a silly, insouciant glamour often employed to sell hair conditioners and perfume.
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75Paradis, an actress and pop singer, is sensational.
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40This elegant vision of sexual roles is certain to make a lasting impression and is likely to provoke explosive dialogues in Denny's and sidewalk cafés from here to Monaco.
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72(Paradis) delivers what might be the most affecting film performance ever given by a supermodel.
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63As 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.
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75Romance, 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.
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70If you're in the mood for fairy tales, you've come to the right place.
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90Simply, one of the year's best films.
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100The gleefully assured tale of a professional knife-thrower who finds a quirky new target... hits the bull's-eye.