Boxing Helena: Critic Reviews

s. Lynch has both talent and a point. Her film is by no means the gory, exploitative quasi-pornography that it sounds like from afar.

Helena might have been salvageable as a so-bad-it's-good camp goof -- if only it weren't so boring.

What Ms. Lynch has given us is a prettied-up snuff movie.

It's probably just as well that last-minute dropouts Kim Basinger or Madonna didn't take the title role, as the presence of a star lurking powerlessly on the little platform no doubt would have been distracting and more laughable than it [is] now.

Fenn's slow-motion fountain-bathing scene looks like an over-the-top TV commercial, the cop-out finale is a film-school cliche, and the male characters are so one-dimensional and pathetic that the movie could inspire a Men's Action Coalition.

It's just not a particularly good motion picture.

What Lynch, who wrote the script at 19, sees as high drama is really high camp.

[An] ambitious but unsuccessful curiosity.

It is curious that Lynch, having taken so many visual cues from her father, has an inadequate grasp of this compassion. The paralyzing obsession that permeates many of her father's works, on the other hand, she comprehends well.

Grotesquely misconceived.

Prior to its world premiere at Sundance, Boxing Helena, the debut of David Lynch's daughter Jennifer, was the hottest film in the festival; two hours later, the movie was dead.

silly attempt at quirky drama

Fairly provocative and not nearly as bad as critics claimed when it was released, but still intellectually half-baked.

Durante boa parte do tempo, discute de forma interessante diversos temas relativos ao amor, sexo e posse - apenas para desmoronar nos cinco minutos finais.

Quirky and underrated.

What ever happened to Jennifer Lynch?

Engagingly morbid with moments of power--that is, until it falls apart beyond repair during its final moments.

Stupefyingly bad. Amazingly bad. Alarmingly bad.

The most ridiculous film a critic has had to sit through