| 67 |
Seattle Post-Intelligencer
In a summer of cardboard figures in splashy spectacles, that makes for a refreshing change, an intriguing, entertaining and altogether sweetly mystifying misfire. In other words, another quintessentially Alan Rudolph picture.
|
| 63 |
New York Daily News
Trixie has "cult favorite" written all over it. That is to say, the general public is likely to say ixnay.
|
| 63 |
Boston Globe
There are so many wonderful moments in Trixie and so few films like it that you wish Rudolph had given it a few more rewrites.
|
| 63 |
Chicago Tribune
A cranky failure with brilliant moments.
|
| 60 |
Film.com
For me, Trixie finds its own peculiar groove, and-buoyed by a compulsively watchable actress-folds neatly into the off-center work of a distinctive American director.
|
| 60 |
Los Angeles Times
So much of the film is so funny, inspired and sophisticated, the performances so richly nuanced, that many viewers, Rudolph admirers in particular, will be inclined to forgive a little self-indulgence on the part of this authentic auteur.
|
| 50 |
USA Today
Eventually evolves into a murder mystery that isn't very compelling.
|
| 50 |
Chicago Reader
The movie does have a certain amount of star power and occasional bursts of inventive mise en scene, which do a good job of diverting us so we don't realize that not much else is going on.
|
| 50 |
Chicago Sun-Times
This is not the sort of movie you make it your business to see in a theater. But if you're ever surfing cable TV and come across it, you'll linger.
|
| 48 |
Mr. Showbiz
Richard T. Jameson
This is one Rudolph opus that leaves no afterglow.
|
| 40 |
Austin Chronicle
Bryan Poyser
With his new film (which he also wrote), Rudolph seems content to slap a flimsy film-noir plot on an unending stream of malapropisms and word games and call it a "screwball noir."
|
| 40 |
TV Guide
In the long, hit-and-miss career of writer-director Alan Rudolph, this misbegotten comedy falls squarely into the miss bin.
|
| 33 |
Portland Oregonian
A movie built on one joke -- an old one -- and an incoherent, even idiotic plot.
|
| 30 |
LA Weekly
Director Alan Rudolph kills this promising film off with a combination of bad writing and wrong-headed direction.
|
| 25 |
Philadelphia Inquirer
Wastes an A-list cast in a sorry send-up of B-movie private-eye cliches.
|
| 25 |
Miami Herald
Every character is quirky, and each has a schtick.
|
| 25 |
Christian Science Monitor
The acting is solid and the heroine's quirky dialogue is amusing for a while. But repetitious writing and a weakly constructed story turn the promising premise into a disappointing mishmash of crime, politics, and show business.
|
| 25 |
Entertainment Weekly
Torturously whimsical gumshoe caper.
|
| 20 |
Dallas Observer
Happily stuck between a rock and the deep blue sea.
|
| 20 |
The New York Times
Despite its occasional flashes of brilliance (every Rudolph film has them), this unsavory stew never comes to a boil.
|
| 20 |
Washington Post
Although the hallmarks of Rudolph movies can be found everywhere -- they don't add up to the usual magic this time.
|
| 12 |
New York Post
It's so painful to sit through you eventually stop feeling sorry for the floundering cast.
|
| 12 |
San Francisco Examiner
Highfalutin swill determined to pass itself off as a jazzy caper.
|
| 10 |
Time
If this retro crime comedy had been a Broadway play, it would have closed out of town.
|
| 10 |
Film.com
Where's the comedy?
|
| 10 |
Salon.com
Classic Rudolph: a tone of sweet-edged, slightly kooky melancholy, a terrific cast mostly left to its own devices and a few intriguing moments. Not, I'm sorry to say, a movie.
|
| 10 |
Village Voice
As overlong and undermotivated as it is absentmindedly incoherent.
|
| 0 |
San Francisco Chronicle
The whole movie is like that: cute, dead and endless.
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