| 87 |
Mr. Showbiz
F.X. Feeney
Though modest in scale, this romantic gem constitutes yet another superb leap in the evolution of Figgis' career.
|
| 75 |
Miami Herald
Phoebe Flowers
Fiery but turgid adaptation of the 1890 August Strindberg play.
|
| 75 |
USA Today
August Strindberg's psychological drama of erotic class conflict gets a bracing, claustrophobic workout from director Mike Figgis.
|
| 75 |
Portland Oregonian
Effectively cast and shot with exciting immediacy.
|
| 75 |
Chicago Sun-Times
Intense, erotic and willful.
|
| 75 |
Boston Globe
Figgis's film doesn't match its reach.
|
| 70 |
TV Guide
A torrid and surprisingly cinematic chamber piece.
|
| 58 |
Entertainment Weekly
Figgis never frees the play enough from the stage to fill the screen.
|
| 50 |
The New York Times
The dialogue may be crisply idiomatic, but there's finally nothing realistic about the speed with which the characters hurtle through their mood swings and power plays.
|
| 50 |
Film.com
Using current hand-held camera technology to ape the political and esthetic sensibility of the 1960s.
|
| 50 |
LA Weekly
A solidly filmed great play.
|
| 50 |
New York Daily News
A brutally claustrophobic battle of wits and will, whose cruel nature ultimately seems to turn on the audience.
|
| 50 |
Los Angeles Times
Figgis remains a compelling storyteller, holding you with the intensity of his vision and his mastery of nuance.
|
| 50 |
Newsweek
Andrea C. Basora
It does justice to its source material -- and that may be the problem.
|
| 50 |
San Francisco Chronicle
An arid, uninvolving film that suffers from Burrows' miscasting as the vain Julie.
|
| 50 |
Baltimore Sun
His [Director Mike Figgis's] techniques do make the film at least watchable.
|
| 40 |
Washington Post
Overwritten, overextended and clunkily symbolic
|
| 38 |
New York Post
This intense psycho-sexual drama doesn't easily lend itself to the camera.
|
| 25 |
Seattle Post-Intelligencer
As dreary an hour-and-a-half as you could ever want to spend at the movies.
|
| 20 |
Village Voice
Figgis's frenetic and grossly self-aggrandizing adaption of Strindberg's worse-for-wear two-hander about the battle between the sexes and the classes.
|
| 10 |
Dallas Observer
A strong contender for Worst Picture of All Time.
|
