Last Life in the Universe


Generally favorable reviews - based on 15 Critics

Critic score distribution:
  1. Positive: 13 out of 15
  2. Negative: 0 out of 15

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Critic Reviews

  1. Moody, atmospheric, and bewitching, like other first-rate examples of modern Thai cinema.
  2. 100
    Equally charming and addicting all the way through.
  3. It becomes a dreamy study in stillness broken by suicide fantasies, flashbacks, and the hired killers, but even the violence has a meditative even melancholy quality to it, as if it's all been processed through the eyes of its Zen hero.
  4. Reviewed by: David Rooney
    It recovers from an opening that's a little oblique to grow progressively more seductive as the two lost central characters become entwined.
  5. 80
    A brilliantly atmospheric, sweetly nutty film.
  6. The stars and Doyle's expressive cinematography add up to a disarmingly seductive yet always precarious film experience.
  7. The mildly surreal drama doesn't always make sense, but it sure does look great.
  8. 75
    Enthralling performances are given by Tadanobu Asano (Miike's "Ichi the Killer") as Kenji and first-timer Sinitta Boonyasak as the pot-smoking Noi.
  9. 75
    There is no plot in Pen-ek Ratanaruang's exceedingly mellow situation comedy, and that's preferred, frankly.
  10. May seem frustratingly elusive at times, but it's a rewarding film that's beautiful to look at.
  11. 70
    Ratanaruang's simple willingness to tie different strands of melancholy melodramas and violent yakuza thrillers together with flashes of surreal mystery immediately sets him apart from the herd.
  12. 70
    Much of the pleasure of the movie is the way its mood lingers with you afterward.
  13. 60
    Cheeky and elusive, Last Life in the Universe inhabits a high-lonesome world unto itself, a bright daydream that dissipates in the aching gap of a missed connection.
  14. 50
    It's hard to know what's really happening in the movie versus what's merely running through the characters' heads, and the poignant final shot muddies the picture even more, raising the question of just when (or if) the story jumps from real to imaginary.

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