Cult Classic Fridays
an utterly mesmerizing and completely disjointed crime thriller that is more about tone and style than it is about its fragmented narrative
James Kendrick, Q Network Film Desk
The first great film to combine a sepia tone with film-noir shadows in order to conceive Europe as a post-apocalyptic barren land on the verge of complete anarchic disorder. Trier uses the archetypical detective with confronted emotions and priorities to highlight his vicious-circle story. Very underrated twist on the genres it treats, including the first use of the director's trademark: hypnosis. 97/100
Edgar C, Rotten Tomatoes Super Reviewer
Fisher (Michael Elphick), an ex-detective, decides to take one final case when a mysterious serial killer claims the lives of several young girls. Fisher, unable to find the culprit, turns to Osbourne (Esmond Knight), a writer who was once respected for his contributions to the field of criminology. Fisher begins to use Osbourne's technique, which involves empathizing with serial killers; however, as the detective becomes increasingly engrossed in this method, things take a disturbing turn.
This is a beautiful work of art which combines serious sci-fi with fanciful designs, a distinct style and a big message. A classic which is very highly recommended.
Ard Vijn, ScreenAnarchy
It's not every fancifully encoded cautionary tale that can survive the demise of its historical villains, and it's not every stoner midnight movie that can stand a second viewing in the sober light of day.
Gary Dauphin, Village Voice
This animated tale follows the relationship between the small human-like Oms and their much larger blue-skinned oppressors, the Draags, who rule the planet of Ygam. While the Draags have long kept Oms as illiterate pets, this hierarchy shifts after an Om boy becomes educated, thanks to a young female Draag. This leads to an Om rebellion, which weakens the Draag control over their race. Will the Oms and the Draags find a way to coexist? Or will they destroy each other?
Not even Buuel with a brainful of Woodstock's bad brown acid could have made something this gloriously screwy.
David Fear, Time Out
Alejandro Jodorowsky's Holy Mountain is a dazzling, rambling, often incoherent satire on consumerism, militarism and exploitation.
Matt Zoller Seitz, New York Times
This is an extraordinary visual concoction, loaded with stunning primary colors, anti-religious caricatures drawn from Diego Rivera and a succession of dreamlike, grotesque vistas worthy of Dal at his most deranged.
Andrew O'Hehir, Salon.com
In a corrupt, greed-fueled world, a powerful alchemist leads a messianic character and seven materialistic figures to the Holy Mountain, where they hope to achieve enlightenment.
Irma Vep is a magnificently varied film, integrating film footage, press interviews, gossip, and film's hurry-up-and-wait production schedule. Cheung in particular does a masterful job playing herself, at once transparent and opaque.
Alyx Vesey, Bitch Media
An exhilarating film that happens to be about moviemaking itself, Olivier Assayas's sinuous, kinetic, waggish Irma Vep is an oblique, supremely enjoyable course in movie history.
Melissa Anderson, 4Columns
Though Irma Vep may be best appreciated by movieheads, it's hardly just an homage. By its shrieking avant-garde climax, it's more like a statement on how history, even filmed history, can fragment and dissolve into oblivion.
Michael Atkinson, Spin
Washed-up French director René Vidal (Jean-Pierre Léaud) hopes to turn his career around with an update of "Les Vampires," a silent-era masterpiece about about a notorious ring of thieves, led by crafty female crook Irma Vep. René brings in Chinese star Maggie Cheung (Maggie Cheung) to play Vep, but unexpected roadblocks arise on the set. Maggie doesn't know French, she's pursued by obsessive lesbian crew member Zoe (Nathalie Richard) and her character's criminal ways begin to rub off on her.