If you don't like this, we can't be friends.

By the time the dramatic fireworks start popping off, each one feels earned.

An old-fashioned movie made with new-fashioned finesse.

It is a whirlwind of delight --- attractive actors, stunning couture, spectacular sets and outrageous parties. It's a feast for the eyes. But what really makes this dramedy work is the acting.

I enjoyed it, VERY much. The colors and the camera-work are mesmerizing, feels like everything is real although everything feels to be surreal. It was really a mind-blower, but in a slow, calm and gorgeous way. The length of the movie gives justice, every second is either beautiful or interesting. I HAD to light some cigarettes twice during the movie, but not because it is boring, but because you just feel like you MUST light some cigarettes. It is all about the atmosphere this movie has. It is a bit art film, but that's only a good thing. I recommend it to everyone who want to watch something out of the ordinary, watch something messy yet well-understandable, and just want to chill out a bit, perhaps.

Enter the Void is a flawed, but deeply disturbing and powerful film that will almost certainly stay with you for a very long time. Through the use of superb camera-work, an unnerving ambient score and a powerhouse performance Paz De La Heurta, director Gaspar Noé sucks us into a very dark place. Of course, it is impossible to talk about the film without mentioning its fantastic first person opening sequence, chronicling the last half hour of protagonist Oscar's life. We see him take a strange hallucinogenic drug, before leaving his house and going to meet his friend, all the while being presented with a disjointed, and at times highly existential inner monologue. This scene is, for lack of a better word, astonishing, and more than sets the tone for the surreal nightmare to come. From then on, the camera, perhaps a representation of the protagonist's spirit, moves freely through space and time, never confined to one place, almost as though it were some kind of omniscient being. We are also presented with psychedelic, almost headache inducing strobe lights set against an oppressive red colour palette, which, perhaps in an inferior film, would be no more than a gimmick to masquerade artistic prowess. In this, however, the lighting serves to highlight the despair and misery the characters are living through, as we, like the protagonist watch in horror, unable to save them from their inevitably unpleasant fate. The performances are, in general, pretty good. Nathaniel Brown is convincing as Oscar, playing somebody who, while devoted to his sister's well-being, gives very little regard to the lives of others. The only performance that I would call bad comes from Cyril Roy, playing his friend, who, intentionally or otherwise, comes across as detached from the situation around him, and unable to speak without sounding slurred. The standout, however, comes from the aforementioned Paz De La Heurta, playing Oscar's damaged sister Linda, the emotional anchor of the film. She portrays someone who, though innocent at first, becomes increasingly aware, and disturbed, at the nightmarish situation she's in, and increasingly desperate for some sort of escape. All this is done with a raw emotional intensity that you simply would not see in a more mainstream film. This film is, of course, far from perfect. Its biggest flaw lies in its borderline excessive run-time, which could have been reduced drastically had Noé removed a few unnecessary scenes, or, alternatively, cut a few short. Around halfway through, we are shown a shortened version of the opening scene again, only without the first person perspective. This could have been shortened quite easily, by showing only the most crucial moments, before moving on. Towards the end, Noé starts recycling and re-purposing the same type of shot, finishing, quite disappointingly, with a visually stunning, though overlong sequence that detracts from the emotional climax of the film. Despite an overstretched run-time and occasional moments of weakness, Enter the Void is essential viewing for anyone interested in surreal, unsettling cinema. Obligatory rating: 8.5/10

An interesting, ambitious and provocative project for an experimental filmmaker, but by the midpoint, I was exhausted by it. In sections, it's very fascinating, including the opening scene (first person POV), the montage of the past flashing before his eyes and the final scene depicting a POV of the conception of a baby (graphic sexuality). But in long sections, it's absolutely grating on your patience with horrible dialogue and even worse acting. I mean, really bad.. just monotone dreck. If this kind of slow, abstract filmmaking is for you, I guarantee you that this is your kind of movie. If not, stay very clear.

Let me preface by saying I've seen thousands of movies. I've seen many of the movies often regarded as the worst. Plan 9, the room, Tarzoon, underground comedy, puppet master sequels, paranormal activity sequels, an American Hippie in Israel, highlander 2, Catwoman etc. I've seen almost every Adam Sandler film and Steven Seagal, every rob Schneider, Nick Cage, Pauly Shore, and Van Damme. Obscure gay independent films and films meant to create a state of mind like being on drugs. My point is that I have every basis for comparison when I say the following: Enter the Void is by far the worst movie I have ever seen. It has no redeeming qualities. From the Bafflingly awful direction to Weaponized dialogue used to attack the audience all the way to the twist at the end, only surprising inasmuch as you wouldn't believe someone would have the balls to make it that lame and uninteresting. The bizarre birds eye shots and shifts in camera angle give the viewer the impression that this was not really a movie. Not so much as an art project for students wanting to reproduce the effects of torture. It is not bad in a fun way, it is not campy, it is not ironic. It is just painful. Worth seeing only to calibrate your opinion of all other movies. This is bedrock with nowhere to go but up. If a perfect movie were a 10 then enter the void would define 0. Unfortunately the system won't let me rate that low.