Critic Reviews



Based on 25 critic reviews provided by Metacritic.com
The overall experience of the movie is of something fresh.
Movies often turn on slender notions worked up to look like full-fledged ideas. Once in a while, though, a notion will be fertile to begin with, a self-renewing source of delight. That's the case with Luc Besson's Angel-A.
Its strongest asset is the stunningly poetic cinematography by Thierry Arbogast.
What's maddening about Angel-A is that Besson is so brilliant with his visuals - and so in love with his two leads and the city they're parading around - that you desperately want the story, and the characters, to make some kind of emotional sense. This, however, does not happen.
The beautiful black-and-white photography - and disappointingly sappy ending - are the only remotely sober elements here, thanks to Besson's loopy script and Debbouze's very funny turn as a loser who simply can't believe his luck.
Chicago Tribune
So stunningly shot and visualized--and scored so hauntingly well by Anja Garbarek, the daughter of saxophonist/composer Jan Garbarek--that it works even if you don't pay attention to the story. Maybe it works better that way.
A black-and-white fantasia shot against a bright backdrop of famous sites, and it has potential to be a cult hit on its dreamy-hipster look alone.
There's always been a wide streak of the tediously naughty little boy in Besson, and all the seductively stylized images in the world can't hide it.
Angel-A is an intriguing film, but more of an interesting failure than an offbeat success.
What nearly saves the movie, besides the Rasmussen eye candy, is Paris itself, shot in shimmering black-and-white by the gifted Thierry Arbogast. Talk is cheap here, and often inane, but as a silent film, Angel-A could have been magic.
Angel-A shows how director Luc Besson can be French in a way that even the French might despise...Quel ick. And très tedious.

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