Critic Reviews
| 70 |
Los Angeles Times
A provocative, witty -- and admittedly esoteric -- experimental comedy that is serious, amusing and satisfying, in Rosenbush's words: "a Zen riddle designed more to be experienced than understood rationally."
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| 60 |
Film Threat
Director Marc Rosenbush gets the absolute most he can out of his no-budget-friendly, minimalist location and a solid, if unremarkable cast.
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| 50 |
San Francisco Chronicle
The biggest mystery of all is why director Marc Rosenbush, whose background is in theater, bothered putting this story on film when it's so obviously meant for a stage.
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| 30 |
LA Weekly
Melissa Levine
Along the way, Zen Noir commits a few crimes of its own, against noir, Buddhism and filmmaking.
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| 30 |
Chicago Reader
The cinematic debut of Chicago theater director Marc Rosenbush, this 2004 indie comedy is an irritating exercise in ham acting, metaphysical patter routines, and rim-shot-style comic editing.
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| 25 |
Seattle Post-Intelligencer
The actors, all unprofessional with the exception of Kim Chan as the Zen master, step on each other's clipped lines so regularly that it becomes a stylistic affectation, like Mamet directing Beckett.
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| 25 |
Chicago Tribune
Rosenbush strives for a difficult blend of spoof and sincerity with Zen Noir. In the spirit of rebirth, let's assume that the next time he makes it, it'll turn out fine.
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| 11 |
Austin Chronicle
Josh Rosenblatt
Great movies can make you believe in a life beyond the frame; Zen Noir can't even convince you that what you're seeing onscreen is actually happening.
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