30 Beats 2012

Stephen Holden, New York Times: This wisp of a movie, inspired by Arthur Schnitzler's play "La Ronde," offers only hints of the complicated personalities behind the characters' sleek, well-toned surfaces. Read more

Rex Reed, New York Observer: Under the circumstances, even first-rate New York stage actors like Thomas Sadoski and Justin Kirk seem uncertain and tentative. Read more

Bill Goodykoontz, Arizona Republic: It means to be an interconnected story, in which one coupling leads to another in increasingly ridiculous fashion, until you're not only no longer interested, you're grinding your teeth, hoping it will end. Read more

Frank Scheck, Hollywood Reporter: This umpteenth variation on Schnitzler's classic play La Ronde fails to arouse. Read more

Mark Olsen, Los Angeles Times: Despite the presence of such actors as Lee Pace, Jennifer Tilly, Justin Kirk, Thomas Sadoski and Paz de la Huerta, there is no character insight allowed by the bumper-car storytelling. Read more

Joe Neumaier, New York Daily News: "30 Beats" goes on to a meandering orgasm of multiple, less-than-dangerous liaisons meant to titillate, fascinate and illuminate. But once the sweat dries, it irritates. Read more

Sara Stewart, New York Post: In "30 Beats," the conversational foreplay is hopelessly flaccid. Read more

Amy Biancolli, San Francisco Chronicle: That's all that happens: drift from one unrealized, uninteresting character to another. Read more

Joe Williams, St. Louis Post-Dispatch: Where the original play "La Ronde" was a social satire about the transmission of venereal disease, "30 Beats" is a sickly stepchild. Read more

Matt Singer, Time Out: The flaccid execution of this promiscuous-New Yorkers circle jerk is more worthy of the clap than a round of applause. Read more

Ronnie Scheib, Variety: The jazz-scored pic relies heavily on quirkiness to round out shaky characterizations and inject interest into otherwise forgettable pairings. Read more

Nick Pinkerton, Village Voice: It is absolutely terrible. Read more