Critic Reviews
| 90 |
Los Angeles Times
Brings maximum subtlety, nuance and insight into the timeless story of first love.
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| 90 |
New Times (L.A.)
Charged by Rideau's amazingly sexy performance as the most forthright gay character put on screen to date, this is a fine piece of filmmaking.
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| 90 |
Variety
The elusive, quicksilver nature of young love is often reduced to crude simplicities by the movies, but director Sebastien Lifshitz and writing partner Stephane Bouquet have observed it with a superb balance of aesthetics and insight in Come Undone.
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| 80 |
LA Weekly
A melancholy valentine to broken hearts and lost innocence.
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| 75 |
Chicago Tribune
Patrick Z. McGavin
Turns increasingly interior and emotionally complex. It refuses to connect, putting the pressure entirely on its viewers to reach their own conclusions.
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| 75 |
San Francisco Chronicle
The photography is strong, the performances sympathetic and the sex plentiful.
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| 75 |
Philadelphia Inquirer
A delicately managed piece that is by turns intimately detailed and elliptical, and that's an approach that suits the tangled emotions of its two protagonists.
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| 70 |
TV Guide
A moody, subtle drama that has more in common with the tragedy of "Endless Love" than "Where The Boys Are."
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| 70 |
Village Voice
Come Undone's true subject is, simply enough, the perspective-warping enormity of first love, as preserved in a scrapbook of before-and-after snapshots.
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| 70 |
The New York Times
Ultimately, Come Undone isn't a movie about homosexuality, depression or family dynamics. For a gay coming-out story, its sexual politics are extremely muted.
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| 67 |
Austin Chronicle
If the sensitive coming-of-age love story is a well-worn tradition in gay cinema, Come Undone is at the very least a superior example of it.
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| 63 |
Baltimore Sun
Come Undone would have benefited immensely from less constricted performances from Elkaim and Rideau, both of whom go through the film determined not to crack a smile.
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| 60 |
Mr. Showbiz
Come Undone is the quintessential gay date at the art house.
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| 50 |
Boston Globe
Loren King
Achingly slow, at times bleak and, in the end, frustratingly and regrettably, rather pointless.
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| 50 |
New York Daily News
There isn't much here besides two self-absorbed kids.
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| 38 |
New York Post
One of those French films whose makers won't lower themselves to tell a story in a way that is entertaining or compelling.
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