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Reviews provided by RottenTomatoes
Glenn Lovell, San Jose Mercury News: A sun-drenched masterpiece, part parlor game, part psychological case study, part droll social satire. Read more
Janice Page, Boston Globe: Suspend your disbelief here and now, or you'll be shaking your head all the way to the credits. Read more
Moira MacDonald, Seattle Times: It's enough to watch Huppert scheming, with her small, intelligent eyes as steady as any noir villain, and to enjoy the perfectly pitched web of tension that Chabrol spins. Read more
Michael Wilmington, Chicago Tribune: An impeccable study in perversity. Read more
Elvis Mitchell, New York Times: The picture belongs to Ms. Mouglalis, whose adorable warmth doesn't lessen her instinct to exploit. Read more
Kevin Thomas, Los Angeles Times: In his 48th film of his 44-year career, New Wave pioneer Chabrol remains at the height of his powers. Read more
Owen Gleiberman, Entertainment Weekly: Huppert gives what may be her wittiest passive-aggressive performance yet. Read more
Philip Wuntch, Dallas Morning News: A tasty appetizer that leaves you wanting more. Read more
Ella Taylor, L.A. Weekly: Huppert, for her part, is magnificent, an enigmatic echo of her twisted musician in Michael Haneke's horribly grandiloquent The Piano Teacher. Read more
Stanley Kauffmann, The New Republic: We can rejoice that he carries on, breathes his profession as his native air, makes pictures of varying quality but persistently makes them. Read more
Andrew Sarris, New York Observer: This is one of Mr. Chabrol's subtlest works, but also one of his most uncanny. Read more
Roger Ebert, Chicago Sun-Times: Huppert has the best poker face since Buster Keaton. She faces the camera with detached regard, inviting us to imagine what she is thinking. Read more
Edward Guthmann, San Francisco Chronicle: Merci Pour le Chocolat has a restraint and rigor that we don't see in commercial American films, the kind that a director creates when he has no interest in sentimentality or in soliciting the audience's favor. Read more
Mike D'Angelo, Time Out: Every potential twist is telegraphed well in advance, every performance respectably muted; the movie itself seems to have been made under the influence of Rohypnol. Read more
J. Hoberman, Village Voice: A light confection with a tasty Isabelle Huppert performance at its center. Read more