Critic Reviews
| 75 |
Entertainment Weekly
Does all it can not to dehumanize Chong.
|
| 70 |
TV Guide
You come away from the film wishing her the best, but fearing the worst.
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| 63 |
Baltimore Sun
For all Quek's insistence that she was seeking to ennoble women by helping them gain control over their sexuality, Lewis' film shows that all Quek really wanted was be famous.
|
| 63 |
The Globe and Mail (Toronto)
The most disturbing aspect of the movie is not the sex scenes (shot from the waist up) but her face, especially in her porn-star persona: a frozen little smiling mask that suggests a paradoxically intense vacancy.
|
| 50 |
The New York Times
Sheds heat but insufficient light.
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| 50 |
Village Voice
Quek is compelling not for her ideas but the tangled path by which she came to them.
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| 50 |
New York Post
What could have been an intriguing look at a bizarre and complex woman plays like just another cog in the Annabel Chong publicity machine.
|
| 40 |
Austin Chronicle
Reeks of a filmmaker who latched on to sure-fire subject matter, but then became lost once his character morphed into a person.
|
| 30 |
Film.com
A largely unenlightening work.
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| 25 |
San Francisco Examiner
When Annabel Chong sits in front of Gough Lewis' camera and complains about her need to have one of those normal everyday lives, you want to tell her that having intercourse on camera with more than 200 men is probably not the way to get to normal.
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| 25 |
San Francisco Chronicle
Has many grotesque sex scenes, interspersed with sights of Chong rambling in a dissociated way as she sits in her squalid apartment.
|
| 25 |
New York Daily News
Never gets at what makes Quek tick.
|
| 20 |
LA Weekly
Now that's exploitation.
|
| 10 |
Chicago Reader
Vacuous filmmaking of a very familiar kind.
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