Konterr Brilliant and touching

TrueHello Fun premise, good actors, bad writing. This film seemed to have potential at the beginning but it quickly devolves into a trite action film. Ultimately it's very boring.

ActuallyGlimmer The best films of this genre always show a path and provide a takeaway for being a better person.

Helllins It is both painfully honest and laugh-out-loud funny at the same time.

teodorodontosaurus I always had this goofy thought while walking outside and observing various people - all those weird homeless guys talking to themselves, people interacting with each other, fights, road rages, intense argues, random conversations etc are enjoyable for me; those guys are doing some solid acting! I like to think that everyone is actually acting, and it's not real. Then, this movie appeared to confirm my theory. What a pleasant surprise this movie was! An alternate reality where actors are using a whole city as a stage (and maybe the whole world?) and where reality mixes with fiction? Yes please! Of course, it's a 100% interpretable movie, so there can be many debates. I have to admit it though; this movie is screaming "let's win the Cannes Film Festival!" I don't like to use the word "pretentious", but this can enter that category; sometimes things get a little forced, but not without a purpose; so this is a good pretentious movie. Also, Denis Lavant was awesome here. If Lynch was a Frenchmen, he would probably release this movie.

cinemajesty Film Review: "Holy Motors" (2012)Cannes Film Festival in its 65th Edition under jury president director Nanni Moretti alongside fellow U.S. director Alexander Payne, fashion designer Jean-Paul Gaultier as acting performers Ewan McGregor and Diane Kruger had to make an hardship decision on May 26th 2012 before presenting the "Palme d'Or" to gracefully-received "Amour" (2012) directed by Michael Haneke, when this highly-controversial piece cinema inceptional-conceived by director Leos Carax after more then 12 years of struggle to find another original conception after "Pola X" (1999) to write on in order to present "Holy Motors" as an episodic as unique character-exposing arthouse film with special mesmerizing appearances by Kyle Minogue and Eva Mendes, which are getting completely carried away by the director's long-time friend and fellow brother-in-filmmaking actor Denis Levant, who must transform himself in countless diverse roles as "Mr. Oscar", acting out from stretch limousine through scenarios of defying hypes and social boundaries of any kind, fighting through an artistic society on the verge of collapse due to just an over-poluted landscape of film production vehicles, when "Holy Motors" prevails as being an highly-orginal motion picture to be discovered and talked about for years to come.© 2018 Felix Alexander Dausend (Cinemajesty Entertainments LLC)

NaCuFa I HATED this movie. Absolutely HATED it! It is the most pretentious and boring film I have ever seen. It is absolute s**t!The only thing this is good for, is getting blind drunk and laughing at it. Anyone who thinks this is a good film, is a moron. I don't know how anyone could give it any praise whatsoever. It STINKS. It is garbage. A pretentious s**t from start to finish.Do yourself a favor and stay the f**k away from this. Utter crap. I am surprised I stuck it out to the end, because I was ready to tap out after the first 5 minutes. A silly, pretentious, dog**** of a movie.

Alex Deleon CARAX AT KVIFF, 2012 -- HOLY MOTORS Viewed at Karlovy Vary IFF, July 2012 The last film of the day today in the Main Hall was a bizarre, supremely over-the-top, episodic spectacle, with the beguiling title of "Holy Motors" most deftly directed by Leos Carax known affectionately in France as "The bad boy of French cinema". Fifteen minutes into the picture, which is a string of grotesque appointments with murder, rape, suicide, and other exceedingly weird anti-social acts perpetrated by a mysterious "Mr. Oscar" who changes costumes for each episode and is chauffeured about Paris in a white stretch limo piloted by a pretty weird old woman in white -- it is not hard to see how he earned this sobriquet. The limo Mr. Oscar rides in serves as a dressing room for his many transformations ranging from a bent over old woman beggar, to an acrobatic dancer in full-body black leather tights with small embedded lights all over, in which he engages on a darkened rooftop in wild sexual acrobatics with a woman similarly dressed in red body leather – simulating cunnilingus through the leather and ending in a wild trapeze ejaculation with a giant dildo. This section also has some amazing computer generated animation -- Next he visits a man he seems to have some grudge against and stabs him in the neck as the blood gushes copiously and he drops dead -- next Oscar shaves the head of the cadaver and starts making him up to be a double of himself --whereupon, the hand of the cadaver moves, picks up the knife and stabs Oscar in the neck -- as Oscar bleeds to death we see him and his victim lined up on the floor side by side like a pair of bloody twins ... Inexplicably Oscar recovers and is soon seen in another episode dressed something like a one eyed Hunchback of Notre Dame in long red hair and bare feet, Oscar accosts a tall beautiful woman posing as a living statue for a crowd in Pere Lachaise cemetery and drags her down into the sewers of Paris where he eats the money from her purse, eats part of her long black hair, licks her armpit, then dresses her up in an improvised chador and undresses himself revealing an incredible phallic erection (is it real or a device?) – on and on – Next he shoots a banker at an outdoor restaurant and picks up his teenage daughter from a party telling her he must punish her for lying to him --mand also for being unpopular with the boys ---but her punishment will just be having to live in her own unhappy skin -- All of these scenes very beautifully filmed and framed – Finally he meets a young woman who seems to be in love with him – again on a rooftop – but when he rejects her she jumps off and is found in a pool of blood on the pavement below. In the last scene out r hero Oscar alone in his bedroom after a hard day's "work" ponders the emptiness of his life and the meaninglessness of death. Amazing colorful depressing stuff set to sweet cello music –and , oh yes –at the very end the limo is dropped off at a limo garage dominated by a large neon sign saying HOLY MOT-RS (One letter is burned out) which explains the title -- here Many identical limos are lined up and start sending each other grotesque messages – to end the film with talking limos ... Many of the scenes are hypnotically beautiful, decoratively original, dramatically absurd, and even humorous at points. But the total effect is that of an extended nightmare in a film that seems to be a mix of Cocteau and Pink Flamingos with a touch of Godard, all with the souped up cinematic technology of the 21st century, produced by a talented but singularly twisted mind. The events depicted are so far-out that they are not even outrageous –just weird and grotesque and, ultimately quite depressing. There were many walkouts but we who stayed the course were left with the idea that if we did have our lives to live over again it would only be to go through the same hell all over again –without love. If that is not a depressing thought I don't know what is … Director Leos Carax, now 51, made a strong debut in 1984 at the age of 24 with "Boy Meets Girl" and is noted for his poetic visual style and tormented descriptions of the miseries of love. Since then, other than shorts, he has only made four full length features all extremely unconventional if not downright outrageous, but critically admired for their esthetics and originality. "'Holy Motors" was in competition at Cannes this year where many advocates thought it should have won the Palme d'Or. For its uniqueness alone all I can say is "why not?" For the record, Mr. Oscar was played by Denis Lavant, 50, an actor who is peculiarly ugly, quite agile, and has been in all of Carax's films - -in two of them opposite Juliette Binoche. The limo driver was played by 74 year old actress Edith Scob who is of Russian background and was a favorite of surrealist Georges Franju from 1958 to 1962. Tall and gaunt with thick white hair she is even now still pretty, as well as pretty weird -- the perfect chauffeur for His Weirdness Monsieur Lavant.