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100Alive and daring.
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100Beautifully composed and deftly delivered, it becomes the libretto to Potter's visual music, creating a remarkable lyricism and emotional directness.
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90For those who accept Potter's premise -- and why not embark on a challenging, enriching experience? -- this is a unique, bold adventure of the soul.
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88Ultimately, Potter's fable is about how a catastrophe forces us to ask what we believe and why.
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80Bold, vibrant and impassioned, Yes is the work of a high-risk film artist in command of her medium and gifted in propelling her actors to soaring performances.
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75The results are visually striking, but conceptually they oscillate between poetic, pretentious, and philosophically dubious.
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75Potter explores midlife ennui, (middle-)East-West tension, theology, biology and the irrational nature of romance in this ambitious, if ultimately sketchy, drama.
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75It's a brave film, particularly on the part of Allen, and in many ways an accomplished film. But it's so bookish and clever that you can never fully embrace it, even when you wish you could.
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75From the floating particles of dirt that open the film to the final image of a man and woman on a beach, Yes insists that we live with our mistakes since there is no escaping them.
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67While Yes defies film's conventions in many, many ways, it's still that same old story, the fight for love and glory.
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63If nothing else, Yes is certainly a brave experiment.
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60Like its title, the film is ultimately an affirmation in the face of catastrophic negation, a bit obvious at times but nonetheless welcome.
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60Flawed but very original.
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60For the most part Yes buzzes with visual life and imagination.
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60Like Potter's "Orlando" and "The Tango Lesson," Yes showcases a craft and a hushed, vibrant intensity that prove compelling even when the story loses its focus.
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60Potter's anachronistic rhyme schemes tumble forth with an out-damned-spot verve that rages against irrelevance.
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58Parse the philosophy behind the spill of words, though, and you'll find intellectual jumble, junk. Better to nod to Yes as a drowsing chant than take it seriously as a statement of global concerns.
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Despite many interesting mise-en-scene moments, the film disappointingly feels as sterile as the family's immaculately clean house. In a sense, the movie is too ambitious.
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50The actors are emotional, but the presentation is theoretical to the point of absurdity.
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50Yes is more of a maybe. Or even a hmmm.
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50Shades of "House of Sand and Fog," without the compelling drama.
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40Ultimately has nothing of any real depth or profundity to say, but a thousand self-consciously complex ways of saying it.
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40You may get off on this enthralling stuff, But after half an hour I'd had enough.
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38This is the kind of movie that nice people call ambitious. Let's just leave it at that.
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The more serious Potter gets (there are several earnest soliloquies about dirt), the harder it is not to laugh.
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30Yes is not just a movie, in other words, it's a poem. A bad poem. There is no denying Ms. Potter's skill at versifying - or for that matter, at composing clear, striking visual images - but her intricate, measured lines amount to doggerel, not art.
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30It's a bold exercise, an interesting experiment, but a movie it ain't.
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25Mostly unbearable.
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12The result is a unique time at the art house: a work whose badness becomes guiltily pleasurable, like a Harlequin romance novel masquerading as a dissertation.
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