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Holy Motors is some kind of wonderful.
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.
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.
This is the most exhilarating cinema ride of 2012, a marvellously mobile mystery trip.
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.
As cryptic and unpredictable as that premise might suggest.
Surreal and inscrutable, it's visually compelling avante-garde cinema that may leave you wondering, 'What was that about?'
It's an absurd, unsafe, inexplicable and unpredictable fantasy... .
The intentionally blurry, perhaps non-existent line between so-called 'reality' and fantasy is either something you are willing to endure, or not, in my case.
Holy Motors é uma declaração de amor ao Cinema, um suspiro de impaciência acerca do Cinema e uma manifestação de desesperança diante do estado atual do Cinema. Uma desesperança que a própria existência do filme se encarrega de suprimir.
Mystifying and emotion-stirring, it demands that you bring yourself
"Holy Motors" is a post-apocalyptic movie, if your idea of the apocalypse was the demise of 35mm film and the rise of YouTube culture.
Carax has always been an enfant terrible with taste for excess, but Holy Motors, which has just won the L.A. Critics for Best Foreign Film, is his most original, shocking, and entertaining work to date.
As playful as it is...Holy Motors has the power to haunt as much as to amuse.
For all its disruptive energy, Holy Motors is also a thing of sublime beauty.
It may be the weirdest and most challenging movie to open in Austin this year. It's also oddly moving.
As frustratingly opaque as Carax's art film is, Denis Lavant is fantastic in the lead role, as he portrays character after character, all with the utmost credibility.
I admire the film for thinking out of the box, but it just tries too hard to be weird. It ends up imploding on itself due to its over-ambition.
If you like a movie that dares you to keep up and that demands your willingness to let some parts of it remain mystifying, "Holy Motors" is a ride worth taking.
Totally exhilarating and completely bonkers, like if 'Quantum Leap' had been a French art film
Audiences who care about character and plot are liable to take the exit to a movie that makes sense.
Despite the millions of dollars fueling 2012's special-effects extravaganzas, I doubt I'll experience anything as exhilarating or memorable this year.
If Carax's sorcery doesn't immediately encourage interest in Oscar's fantasyland invasion, trigger the eject button on your seat. Holy Motors is not the type of cinema that should be endured.
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