Reviews provided by RottenTomatoes
It remains an outstanding example of the filmmaker's power to transform an environment through the selection of detail: everything in it is familiar, but nothing is recognizable.
Dallas Morning News:
It's so archly intellectual that you fear it might splinter if you poke it in the ribs. It's also endlessly playful in its worship of American movie tropes, and deeply resourceful.
Los Angeles Times:
Despite its age it's that rare science fiction film that doesn't seem to have dated at all.
It's one of the great cinematic works of romanticism, as well as a sort of filmed revelation of the very essence of science-fiction movies and German silent classics -- their blend of social critique, emotional liberation, and paranoia.
New York Times:
Mr. Godard's conclusion that love -- good old love -- conquers all is a curiously disappointing finish for such an initially promising film.
One of Godard's most sheerly enjoyable movies, a dazzling amalgam of film noir and science fiction.
Karina proves to be the beating heart of the movie, getting its piercing last line (no spoilers here). Yet it's Constantine's ravaged mug that you remember.
Godard again shows his uncompromising, intellectual, unorthodox methods for a pic that is both piquant and sketchy.
No movie, not even Breathless, better exemplifies the syncretic quality of Godard's early genius.
Iconic in its very grain, the film toggles effortlessly between toast-dry farce and vogueing postwar hipitude, and like the balletic swimmers performing mid-pool state executions, it's a thing of insensible beauty.
Nothing about this strange, moving work of agit-pop has ever seemed out of date. If anything, "Alphaville" moves closer to relevance with every passing year.