Generally favorable reviews - based on 12 Critics What's this?

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Mixed or average reviews- based on 8 Ratings

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  • Summary: Set in Taipei, this is the story of a young woman trapped in several bad relationships.
Score distribution:
  1. Positive: 9 out of 12
  2. Negative: 0 out of 12
  1. Reviewed by: G. Allen Johnson
    Cause for celebration. It's not only a cracking good film, but it is the first by Taiwanese master Hou Hsiao-hsien to gain a national (though limited) release.
  2. This is a great companion piece to Hou's masterly "Flowers of Shanghai" and fresh evidence of his status as Taiwan's greatest filmmaker.
  3. Reviewed by: Phil Hall
    This extraordinary work of cinematic art is among the most sublime, compelling and beautifully crafted films to grace the big screen.
  4. 75
    If Millennium Mambo is the only chance to see Hou Hsaio-hsien's work at a movie theater, you'd better take it.
  5. Reviewed by: Ken Fox
    Not much happens on the surface of Hou Hsiao Hsien's latest film...Nevertheless, it can break your heart.
  6. There's wonderful promise in Hou's attempt to make a movie about the kind of woman who's usually part of the scenery.
  7. Reviewed by: Derek Elley
    A slow, empty, over-mannered snoozer that shows Taiwanese helmer Hou Hsiao-hsien asleep at the wheel.

See all 12 Critic Reviews

Score distribution:
  1. Positive: 0 out of 2
  2. Mixed: 0 out of 2
  3. Negative: 2 out of 2
  1. JoshC
    Nov 20, 2006
    One of the worst films of the decade. It makes "Jackass" look like a work of art.
  2. JonR.
    Apr 9, 2008
    I'll have to see it again, but my first two looks at Hou Hsiao-hsien's latest feature, initially announced as the first in a new I'll have to see it again, but my first two looks at Hou Hsiao-hsien's latest feature, initially announced as the first in a new series, have led me to conclude that it's one of the emptiest good-looking films by a major director that I can recall--even though it's also the first of his films to get a U.S. release (unless one counts the 1987 Daughter of the Nile, which was barely noticed). The characters are boring--terminally familiar zeros--and the ability of this Taiwanese master to be a provocative and prescient historian of the present (Goodbye South, Goodbye and portions of Good Men, Good Women) appears to have deserted him. Visually, he works much closer to his actors than usual and moves his characters in and out of focus, defining a much more claustrophobic world than he has in the past. But the story--a young bar hostess (Hong Kong star Shu Qi) shuttles between her jealous boyfriend/flatmate and a gangster while taking ecstasy and throwing tantrums--seems standard issue, apart from the somewhat unorthodox voice-over narration, at least until an unexpectedly lyrical finale Expand