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100It is a movie about the gradual erosion of life's seeming certainties, and it's also about the destructive immorality that may lie beneath the most exquisitely composed veneer. As we watch "Chocolat," this great director and his great actress, Huppert, convince us: Evil is.
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90Self-contained, enigmatic, illuminated from within, Huppert banks a performance that pays dividends throughout the film.
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90Once again Chabrol's son Mathieu has composed a crucially evocative score, and Renato Berta's cinematography is gleaming. Merci Pour le Chocolat crackles with wit and elegance, humor and pathos.
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90A treat, a delicious blend of perversity, playfulness and deadly passion concealed beneath the tranquil, moneyed surface of the Swiss bougeoisie.
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90Every moment of the way, there is a delectable sense of subtle menace and, at the center of it all, Huppert's haunting expression, part sphinx, part grace and maybe part scary.
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88Like some of Hitchcock's films, the story - adapted from a novel by Charlotte Armstrong, an American mystery writer of the '40s and '50s - can be accused of stretching credibility and coincidence almost to the breaking point.
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83Huppert has never been this cheerful, or lethal, and the movie itself is like Hitchcock's ''Rebecca'' reshot for House & Garden, with all the ghosts pulled out of the closet.