Baise-moi 2000

Critics score:
23 / 100

Reviews provided by RottenTomatoes

Charles Savage, Miami Herald: The movie's only value is in unwittingly defining more clearly how played out the whole transgressing-boundaries- as-art thing has become. Read more

Michael Wilmington, Chicago Tribune: A fast-moving shocker, but it's a dull shocker, so morally dead that it deadens you to watch it. Read more

A.O. Scott, New York Times: The result is like something you'd see momentarily unscrambled on a hotel television set, but with better music and a little more of a story line. Read more

John Zebrowski, Seattle Times: Like an eager kid trying too hard to be noticed, it ends up just being tiresome. Read more

David Edelstein, Slate: An exploitation movie reduced to its grindhouse essence. Read more

Lisa Alspector, Chicago Reader: The mix of real sex and fake-looking violence in this 2000 French feature is curiously unprovocative. Read more

Eric Harrison, Houston Chronicle: Baise-Moi is like a cheapie, vintage American exploitation movie, only one that goes so far beyond the bounds of taste that its affrontiveness becomes in large part what the film is about. Read more

Owen Gleiberman, Entertainment Weekly: A caterwauling punk anthem on film, a vengeful fantasia served up with digital rawness. Read more

Globe and Mail: Read more

Peter Rainer, New York Magazine/Vulture: Read more

Andrew Sarris, New York Observer: As art, it is all badly done. Read more

Lou Lumenick, New York Post: A crude piece of work, unfocused, slackly structured and rambling. Read more

Roger Ebert, Chicago Sun-Times: More of a bluff. Read more

Charles Taylor, Didactic, clumsily directed and abysmally acted. Read more

Edward Guthmann, San Francisco Chronicle: Whatever message it wants to impart is overwhelmed by shoddy technique ... and a tendency to embrace the kind of exploitation with which it's supposedly in conflict. Read more

Time Out: Read more

Lisa Nesselson, Variety: Read more

J. Hoberman, Village Voice: Too pleased with the debased romanticism of its slapdash self to outrage a shock-primed audience. Read more