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Reviews provided by RottenTomatoes
Richard and Mary Corliss, TIME Magazine: It's an exhilarating trip of movie madness and sadness. Read more
Wesley Morris, Boston Globe: I don't know what Lavant is playing here because I've never seen anything like it. Read more
Dana Stevens, Slate: If nothing else, you'll come out of it feeling perceptually refreshed, as if you'd just had a ride on an aesthetic and philosophical log flume. Read more
Manohla Dargis, New York Times: A dream of the movies that looks like a movie of dreams. Read more
David Edelstein, New York Magazine/Vulture: Typically confounding but on every level that matters a work of unfettered-and liberating-imagination. Read more
Tom Keogh, Seattle Times: All this random action, Carax suggests, is for some vast, abstract audience anxious to lose itself in imagined narratives. Read more
Bill Goodykoontz, Arizona Republic: Leos Carax's surreal ode to ... identity? Movies? Performance? Identity and performance in movies, or movies and performance in identity, or some other combination that will come to mind upon further viewings? Read more
Ben Sachs, Chicago Reader: As cryptic and unpredictable as that premise might suggest. Read more
Michael Phillips, Chicago Tribune: Lavant is splendid in the film, and he's essentially the entire film - and yet, "Holy Motors" is somewhat more than a contraption built for a fearless performer. Read more
Peter Rainer, Christian Science Monitor: This is the kind of it-can-mean-whatever-you-want-it-to-mean art film that I usually run from, but Carax is such a prodigiously gifted mesmerist that, if you give way, you're likely to be enfolded in the film's phantasmagoria. Read more
Tom Long, Detroit News: By the time this film's over, you're shaken, intrigued and reminded that art doesn't need to add up to be entrancing. Read more
Lisa Schwarzbaum, Entertainment Weekly: [A] crazy-beautiful reverie about movies, love, the love of movies, and the inevitability of human melancholy by the perpetually mysterious French filmmaker Leos Carax. Read more
William Goss, Film.com: In terms of pure cinematic sensation, Holy Motors stands as one of the most delightfully enigmatic movies that I've seen in quite some time. Read more
Megan Lehmann, Hollywood Reporter: A deliciously preposterous piece of filmmaking that appraises life and death and everything in between, reflected in a funhouse mirror. Read more
Sheri Linden, Los Angeles Times: In "Holy Motors" Carax insists on our other selves. His daylong ride is a wary celebration, a joyful dirge that's served up in concentrated form by a roving band of accordion players. It's all in a day's work. Read more
Rene Rodriguez, Miami Herald: Holy Motors is wild and unfettered and playful - the work of an artist who carries his love of cinema in his bones, and knows how to share that affection with the audience. Read more
Stanley Kauffmann, The New Republic: It is never dull. Read more
David Denby, New Yorker: Carax produces the startling dislocations of reality that Bunuel pulled off, but without the gleeful wit. Read more
Stephen Whitty, Newark Star-Ledger: Just when you're ready to throw up your hands and walk out, there's a scene of Lavant gliding around Paris like some silent-movie character out of "Judex" or "Fantomas"... Read more
Stephanie Zacharek, NPR: It could almost be a film made in a time before language, a rendering of modern life - or modern lives - as a kind of cinematic cave painting. With songs. And a white stretch limo. And Kylie Minogue. Read more
Miriam Bale, New York Daily News: Each episode of director Leos Carax's film perfectly masters the exact tone of a different genre, finding precisely the saddest moment in each of its vignettes. Read more
Lou Lumenick, New York Post: The sort of enigmatic movie that many critics embrace because it's open to endless interpretation ... Read more
Roger Ebert, Chicago Sun-Times: Here is a film that is exasperating, frustrating, anarchic and in a constant state of renewal. It's not tame. Read more
Peter Travers, Rolling Stone: Holy Motors, fueled by pure feeling, is a dream of a movie you want to get lost in. Read more
Andrew O'Hehir, Salon.com: It's the coolest and strangest movie of the year, and once it gets its druglike hooks in your brain, you'll never get them out again. Read more
Joe Williams, St. Louis Post-Dispatch: Audiences who care about character and plot are liable to take the exit to a movie that makes sense. Read more
Jon Frosch, The Atlantic: Experimental, funny, deliriously original and occasionally maddening. Read more
Peter Howell, Toronto Star: This is the most exhilarating cinema ride of 2012, a marvellously mobile mystery trip. Read more
Guy Lodge, Time Out: It's hard to say what forces are propelling this ecstatic, idiotic, fizzy, frightening provocation, but we're moved by them too. Read more
Joshua Rothkopf, Time Out: Holy Motors is aggressively "wild," a puzzle that tweaks the mind but doesn't nourish. Read more
Rob Nelson, Variety: Only dream logic -- give or take pure cinema -- can begin to explain the wacky beauty of what goes on here. Read more
Melissa Anderson, Village Voice: Unclassifiable, expansive, and breathtaking ... Read more