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Michael Wilmington, Chicago Tribune: A witty and psychologically perceptive look at the Parisian literary scene. Read more
Moira MacDonald, Seattle Times: Jaoui, crisply efficient as Sylvia, reveals herself as a talent to watch, and Berry disappears into the role of Lolita, carrying the movie on her weary shoulders. Read more
Ruthe Stein, San Francisco Chronicle: One of the many marvels of this keenly observed family saga is the rapidness and economy with which it establishes a disturbing father-daughter dynamic. Read more
Eleanor Ringel Gillespie, Atlanta Journal-Constitution: The self-involved characters in this emotionally smart, beautifully acted and uncommonly insightful film help us look at ourselves. Read more
Richard Nilsen, Arizona Republic: The pleasure of the film, as in many French films from Renoir to Rohmer, is in the exactitude of observation, the accuracy of the portrait and the elegance of the writing. Read more
Wesley Morris, Boston Globe: A marvelous, uncommonly observant, and unexpectedly rousing group portrait from writer-director-actors Agnes Jaoui and Jean-Pierre Bacri. Read more
Bruce Westbrook, Houston Chronicle: An overrated mound of misery. Read more
Michael Booth, Denver Post: Rarely does a director assemble a set of characters so infantile in their emotions and so irritating to be around -- at least if they want anyone to actually pay to see the movie. Read more
Lisa Schwarzbaum, Entertainment Weekly: Comparisons with Woody Allen in his prime aren't out of order. Read more
Chris Vognar, Dallas Morning News: This is the kind of fluid, balanced comedy-drama that Woody Allen wishes he could still make. Read more
Ella Taylor, L.A. Weekly: These hapless malcontents, sweating and puffing as they strive for validation from a man who lacks sufficient backbone to live his own life, let alone theirs, are beautifully observed. Read more
Rene Rodriguez, Miami Herald: [Has] a light, sometimes hilarious touch. Read more
Jan Stuart, Newsday: The ironies and emotional truths running through the dense screenplay are too manifold to catalog here. Read more
Stephen Whitty, Newark Star-Ledger: ...smart and sometimes bittersweet... Read more
David Edelstein, NPR's Fresh Air: It builds, almost imperceptibly, to a vision of a world in which no one looks at anyone, at least deeply enough to see beyond the trappings of beauty or fame. Read more
Jami Bernard, New York Daily News: This audience-pleaser is smart and acerbic. Read more
A.O. Scott, New York Times: A witty and acute examination of friendship, ambition and betrayal in the Parisian literary world. Read more
Andrew Sarris, New York Observer: All these proceedings would be harsh and sordid if they were not softened by the sublime music of Mozart, Schubert, Handel and Beethoven, sung by the choral group to which Lolita belongs, and in which she finds a spiritual salve. Read more
Roger Moore, Orlando Sentinel: At best, a most watchable character study of lives that are more interesting than compelling. Read more
James Berardinelli, ReelViews: A fine motion picture -- simple, direct, and offering truth. Read more
Roger Ebert, Chicago Sun-Times: The thing about a movie like this is, the characters may be French, but they're more like people I know than they could ever be in the Hollywood remake. Read more
Colin Covert, Minneapolis Star Tribune: Gorgeously photographed, sublimely acted and perversely funny, Look at Me creates sympathy for characters who are everything that Hollywood wisdom tells us viewers won't identify with. Read more
Rick Groen, Globe and Mail: Not many movie scripts have the psychological complexity of a first-class novel, and those that do tend to speak in fluent French. Read more
Geoff Pevere, Toronto Star: In the tradition of Jean Renoir, Eric Rohmer or Robert Altman, Look at Me is a multi-character comedy of manners -- or, more accurately, ill-manners. Read more
Michael Atkinson, Village Voice: It's a tender, expertly wrought piece of human exchange, and therefore a scarce beast. Read more
Ann Hornaday, Washington Post: Jaoui sets her wryly observant sights on family, artistic ambition and the tyranny of physical appearance, and the result is a bright, briskly moving film whose modest scale belies the universality of its themes. Read more
Desson Thomson, Washington Post: The characters exude moral three-dimensionality; they're not built to behave or please us. They're not bound by that inflexible Hollywood contract to modify their lives and morals just in time for the ending. Read more