| Praise
for Claude Chabrol's THE BRIDESMAID
Read Terrence Rafferty's article about Claude Chabrol in The New York Times.
"Deliciously twisted! …(A) deceptively understated and finally ferocious film.”
- New York Times
Click Here to read the entire New York Times review.
"Insidiously chilling! Magimel is flawless, Smet eats up the screen … Chabrol, doling out the edginess with the cool assurance of the master he is, has never seemed more Hitchcockian.” - Boston Globe
"Chills with a sophisticated touch…makes a deep, dark impression.” - New York Newsday
" ! Deliciously
dark, highly recommended… Chabrol has found his
most chillingly persuasive psycho-siren since Isabelle
Huppert.” - London Times
"Very
spooky...slowly horrific...masterfully established tension.”
- Hollywood Reporter
"The film flawlessly glides along as bodies start piling up.” - New York Post
"Chabrol sets us up…which is half the fun, and the experience is a delight for lack of pomposity (his visual storytelling remains no-nonsense) as well as genre expertise”
- Village Voice
"A
slyly enjoyable thriller with echoes of Hitchcock...quietly
menacing...Smet delivers an impressive performance, suggesting
her character's seductive sensuality and sinister stillness....Chabrol’s
perverse humour is still very much intact.”
- BBC
"When
the master of French thrillers Claude Chabrol meets the
mistress of English suspense fiction Ruth Rendell, the
result is a potent if very classic blend. …satisfying
… gradually raises the tension until film's final
revelation” - Variety
"Vintage Claude Chabrol, creepy and sexy” - Film Journal International
"Compellingly
sexy, macabre!” - Guardian UK
"A real gift to cineastes.” - Onion A.V. Club
"Drifts tautly, step by step, into foreboding tension…I was thoroughly swept away in the experience.” - Indieville.com
"Sexually
charged, intriguing!” - Time Out London
"! Neo-noir masterpiece.” - Kam Williams
"An
intimate, polished drama about murder most foul. ..Chabrol
does his characteristically effective job of demolishing
bourgeois smugness. He casts his characters into a strange
psychological no-man's-land where anything seems possible…
the film often seems on the verge of morphing into a Lynchian
psychodrama.” - Channel 4 Film (UK)
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