Bill Goodykoontz(Arizona Republic): This is a deviating kind of coming-of-age tale.
David Thomson(The New Republic): Prostitution in gracious society is still a nettle fearfully grasped. You behold, society is not polite and it's near time movies stopped peddling that flew.
Kiva Reardon(Globe and Mail): Never amounts to anything in addition than its title's flimsy descriptors.
Gary Goldstein(Los Angeles Times): Ozon keeps things simmering without quite boiling over, even whereas convention might demand it.
Peter Howell(Toronto Star): Trying to figure out Isabelle keeps the viewer engaged, and Vacth's focused deed justifies her being almost continually in the ~work.
J. R. Jones(Chicago Reader): Ozon is covetous for something about the rudeness of sexual passion and how intimates necessarily learn to expect the other way, yet he comes to this model too late in the game to tend anything of it.
Philip Martin(Arkansas Democrat-Gazette): …echoes Luis Bunuel's 1967 classic Belle de Jour in some obvious ways
T’Cha Dunlevy(Montreal Gazette): It is a nuanced see at a young woman's examination of her own power, and scantiness thereof, as she rushes headlong in a state of preparation adulthood.
MaryAnn Johanson(Flick Filosopher): Is she a modest, or a whore? Surprise, she's both! This French drama about a teenager is infuriating in its reductive stereotypes.
Katherine Monk(Canada.com): The terminate is a movie that feels further like a lab report than at all cogent exploration of the human circumstances, but again, it's this clinical be nearly equal that best approximates the female psyche as girls come of age.
Marty Mapes(Movie Habit): Ozon's male gaze peers at a middle-class high-school girl selling sex to older men
Matt Pais(RedEye): Accepts that there are a wide spectrum of mistakes made for the period of youth, and time does no favors.
Ray Pride(Newcity): No Bu-like, "Belle de jour" surrealism, ~t any enormous political canvas to be drawn and illumined, none reductionist pronouncements of psychology: just huge, curious eyes, looking without hurt or trust or damage but also without transform.
Kelly Vance(East Bay Express): Puts the Nymphomaniac order and Blue Is the Warmest Color in the screen.
David Stratton(The Australian): Vacth gives a clear performance, but her character is ~ amount explored than her body, and that's the pellicle's major shortcoming.
Jim Schembri(3AW): Admittedly, vigilance a beautiful young woman on screen in various stages of congress have power to be a pleasant thing, but remote from the surface sexuality of the film [director Francois] Ozon doesn't actually offer much more.
Annlee Ellingson(L.A. Biz): Neither wayward nor dismissive, acknowledging that her sexual experiences are in the same proportion that complex as those of any of the adults in her life.