Offical website
Blu-rays, DVDs & more
eBay affliate link
Art of the Movies
Buy posters on MoviePoster.com
IMDb
Angel-A movie stills
Reviews provided by RottenTomatoes
Ted Fry, Seattle Times: Luc Besson returns to his roots in this delightful, funny and stylish fantasy. Shot in gloriously crisp black and white, it's also a bit of a throwback to the French New Wave for its technique and dazzling location vignettes across Paris. Read more
Michael Wilmington, Chicago Tribune: We all have our own view of paradise, but as long as Besson has Arbogast, his camera and those surreal bare Parisian streets, his schlocky heaven enchants the eye, if not the mind. Read more
Jonathan Rosenbaum, Chicago Reader: [Besson's] attractive black-and-white 'Scope compositions, strong Paris locations, and effective handling of the actors makes this captivating throughout, and wholly undeserving of the drubbing it's received from many critics. Read more
Joe Morgenstern, Wall Street Journal: This movie will make you feel better about life in general, and, in particular, about Paris, which has never looked more magnificent than in Thierry Arbogast's cinematography. Read more
Jim Emerson, Chicago Sun-Times: The movie doesn't aspire to be anything but a lightweight pastiche that rehashes your memories of other, better movies. Read more
Robert W. Butler, Arizona Republic: ... a visually sumptuous, dramatically inert fable ... Read more
Wesley Morris, Boston Globe: Angel-A is all icky fantasy. Read more
Kevin Crust, Los Angeles Times: In essence, you get It's a Wonderful Life meets Wings of Desire, swapping out the substance for self-help platitudes. If you can get past that, you can enjoy it as a 90-minute look at a lovely postcard. Read more
Bruce Westbrook, Houston Chronicle: [The] plot is warmed-over Capra, and it's no wonderful-life yarn. Read more
Owen Gleiberman, Entertainment Weekly: Angel-A shows how director Luc Besson can be French in a way that even the French might despise. Read more
Jonathan F. Richards, Film.com: Familiar situations and trite dialogue give this movie the feel of something freeze-dried and reconstituted. Read more
Stephen Whitty, Newark Star-Ledger: Nice as this quietly philosophical mood may be for Besson, it's a little wan for moviegoers, and following on the heels of Arthur and the Invisibles, Angel-A seems less like a detour in his career than the beginnings of a wrong turn. Read more
Elizabeth Weitzman, New York Daily News: The beautiful black-and-white photography -- and disappointingly sappy ending -- are the only remotely sober elements here, thanks to Besson's loopy script and Debbouze's very funny turn as a loser who simply can't believe his luck. Read more
Kyle Smith, New York Post: If Besson's eye is Angela, though, his writing is Andre: awkward, misshapen and earthbound. Andre must learn a lesson in self-esteem that would have embarrassed Capra -- maybe even Oprah. Read more
Roger Moore, Orlando Sentinel: Besson's black-and-white angel fantasy is a weak homage to Wings of Desire, if that's what he was shooting for. Read more
Steven Rea, Philadelphia Inquirer: You desperately want the story, and the characters, to make some kind of emotional sense. This, however, does not happen. Read more
James Berardinelli, ReelViews: Besson's dialogue is often inane, occasionally sounding like it is copied verbatim out of a new age self-help manual. Read more
Stephanie Zacharek, Salon.com: As I watched it, I found myself wishing it were just a little loopier. But the picture is still seductive and pleasing. Read more
Mick LaSalle, San Francisco Chronicle: The overall experience of the movie is of something fresh. And while it inhabits a pretty rough world, of Parisian gangsters and loan sharks, the film has a warm spirit. Read more
Kamal Al-Solaylee, Globe and Mail: Feels like a mash-up of It's a Wonderful Life and Xanadu, without the wholesome sweetness of the first and the campy excesses of the second. Read more
Peter Howell, Toronto Star: It seems Besson can be sentimental about Paris but he's still not ready to get too romantic with people. Read more
Wally Hammond, Time Out: The script is such a showman's bag of self-mocking cliches, empty tricks and metaphysical baloney, and the heart is never touched. Read more
Claudia Puig, USA Today: Visually arresting but flawed. Its strongest asset is the stunningly poetic cinematography by Thierry Arbogast. Read more
Jim Ridley, Village Voice: There's little beyond the surface-deep pleasures of this talky distaff riff on Wings of Desire. Read more
Desson Thomson, Washington Post: Counterfeit art-house chic writ large -- a French film that fails to produce the ineffable charms of the yesteryear movies it brazenly imitates. Read more