A piece of overambitious bombasticism. Dealing with the theme of common people's trivial dreams of greatness, it presents the same sort of ridiculous, dimwit grandomania it supposedly takes a critical-ironic stance against.

Disappointing closer of Szabó's 'German' trilogy. Embarrassingly mediocre directing, lots of anachronisms. More importantly, Szabó omits a crucial detail from the story: the fact that Hanussen, who apparently had a hand in Hitler's rise, was a Jew. This not only nullifies the movie's 'revelatory' pretensions, but, I'm sorry to say, it also makes me question the director's integrity.

An extremely well executed pre-perestroika movie that delivers human drama and satirical revelations about the soviet system in a classic romantic comedy setup.

Inoffensive crap sold as alternative to the violent crap.

Klimov is a genius, and this is film up there with 'Come and See', in a place reserved for truly exquisite, mindblowing cinema.

This is a bona fide masterpiece. See it.

Kustirica spitting himself in the face. See his earlier gipsy movies to see what I mean.

The movie that turned directorial authorship in Hollywood undesirable. And for a good reason.

The 'Bolero' and 'Valse triste' segments are genius, the rest is forgettable.

One of the greatest cinematic achievements ever. Only for people ready to actively invest themselves in watching. This circumstance also explains the great ignorance surrounding this work.

Certificate of poverty in idiotic red, blue and green lights. Not up even to the premise of "watchable trash".

Idiotic in every respect, a perfect product for the target demographic.

Mass exterminations were still the order of the day in desintegrating Yugoslavia when Kusturica felt it opportune to do this carnivalesque, fake-jovial ode to the Balkans, in which all the good patriots happen to be Serbs. A great display of ignorance and irresponsibility. Leni Riefenstahl would have been proud.

Digitally effected horse turd from the one who used to be Ridley Scott.

Jaded audiences meet alternative hype-making. No film.

Antonioni already did this 40 years ago – without needlessly humiliating his actors. And without imbecile music-hall numbers.

Pathetic attempt at intellectualism. So fake it leaves Hollywood trash seem desirable.

Apparently, Jesus suffered for those with a sadistic fetish.

A list is a list is a list. Art is something else.

No substance, only a bare determination to impress. Ultimately, it offers the same sort of dimwit grandomania it supposedly takes a critical-ironic stance against.

A touch of plausibility wouldn't have hurt. This is kitsch.

It fails miserably in the sense-of-reality department. Technological gimmicks won't redeem cardboard storyline and characters.

This tripe has nothing to do with quality films.

Sharon Stone's pussy fights oblivion.

Giant plot hole in the sky.

Nice soundtrack, but where's the movie?

Interesting adventures of the meat in the grinder.

Forms of child exploitation: slavery, sexual abuse, Harry Potter.

A group of horny gay sailors wait for Jeanne Moreau to leave the room, but she won't.

Oscar recipe: water-down 'Gone with the Wind' like it wasn't watery enough, throw in cardboard actresses, spread grated cheese and ketchup on top, serve it pouting.