Twentynine Palms


Mixed or average reviews - based on 16 Critics

Critic score distribution:
  1. Positive: 5 out of 16
  2. Negative: 7 out of 16

Critic Reviews

  1. 100
    At turns sexy, ultra-violent and sweet, it will infiltrate your brain long after you've seen it.
  2. Dumont's methods are radical, but there's a fascinating method to his seeming cinematic madness.
  3. 70
    Even adventurous moviegoers who are familiar with Bruno Dumont's previous features...may be taken aback by the intensity of this shocker.
  4. 70
    For most of the way, the film is perceptive about the hot-and-cold volatility of wounded relationships, when couples are struggling to communicate yet familiar enough to exploit each other's weaknesses.
  5. Slams us with an absurdly repugnant ending, for absolutely no reason other than to shock viewers and generate cheap controversy.
  6. The sustained force of Mr. Dumont's vision of existence as a swirl of brute instincts may not be easy to absorb, but it marks him as a major filmmaker.
  7. This is one of those films in which the Act of Driving becomes a 10-minute statement of high emptiness; Dumont even manages to make sex in the desert boring.
  8. The New Yorker
    Reviewed by: David Denby
    The latest minimalist provocation from the infuriating but talented French director Bruno Dumont. [12 April 2004, p. 89]
  9. It's alternately monotonous, hot and dramatic, which makes for a peculiar, not entirely unsatisfying atmosphere of neo -- or is that post? -- noir. What it all means, of course, I have no idea.
  10. Reviewed by: Ty Burr
    A textbook example of how a director can strip away plot, motivation, character, and meaning and still leave arrant pretension standing tall.
  11. Ultimately a hollow and pointless exercise.
  12. Embedded between all the sex and sunlight are some woefully underdeveloped ideas about American militarism and masculinity. Dumont doesn't bother to develop these ideas, principally because he seems to think it's enough to arrange his characters like puppets and tear off their heads.
  13. Alas, the plot eventually takes over, and it's exceptionally ugly and unpleasant.
  14. 10
    The "Humanite" director's Death Valley void is the real "Lost in Translation."
  15. Reviewed by: Lisa Nesselson
    Fails to captivate or intrigue at the most basic level.
User Score

Mixed or average reviews- based on 9 Ratings

User score distribution:
  1. Positive: 4 out of 4
  2. Mixed: 0 out of 4
  3. Negative: 0 out of 4
  1. AntonC.
    May 29, 2006
    The only simile that suits all the attributes to this film is "as hell".
  2. ChadS.
    Feb 11, 2006
    The central question surrounding "29 Palms" for me is if the final violent act would've occured independently of the nod to The central question surrounding "29 Palms" for me is if the final violent act would've occured independently of the nod to "Deliverance". After all, why else would you be driving around the California desert? [***SPOILERS***] Maybe, just maybe, David was double-crossed by those men in the white truck. If you believe he was, the scene in which David boots Katerina out of the motel room, post-b.j., gains a noir-ish edge. Maybe her paranoia about that passing car is an unconscious premonition. Unlike Catherine Breillart's "Fat Girl", filmmaker Bruno Dumont might be planting clues under our noses. Full Review »