Crazy Eyes Reviews

  • An appreciation that the pain is personal doesn't compensate for the picture's self-absorbed need to alienate.

    Lisa Schwarzbaum — Entertainment Weekly

  • Yes, it feels true. But why bother?

    Stephen Holden — New York Times

  • The exuberant editing and puke-into-the-camera edginess indicate a film more interested in boasting of hell-raising than in exorcising it.

    Nick Pinkerton — Village Voice

  • This slovenly, self-indulgent riff on Charles Bukowski-like fringe-livers has all of the naked harshness of Bukowski with none of the poetry.

    Joe Neumaier — New York Daily News

  • These two non-lovers have real chemistry, and it's hard not to be intoxicated by the strange cocktail of watching them together, even as the story appears to be going nowhere.

    Peter Debruge — Variety

  • There's no colorful Boschian absurdism here, only soulless banter and projectile vomit.

    Sara Stewart — New York Post

  • One of those exercises in masculine self-pity and glib misogyny that frustrates because of its shortsightedness.

    Robert Abele — Los Angeles Times

  • Hedonistic playboy tries Platonic relationship in offbeat romantic romp.

    Kam Williams — myfilmblog

  • A rare example of the "decadent LA" movie, once thought extinct.

    Kelly Vance — East Bay Express

  • The resulting film has the integrity and the ugliness of the truth. It's not true because it's ugly; no, it's ugly because it's true.

    Mick LaSalle — San Francisco Chronicle

  • A hard sell unless you've got an appetite for self-destruction. Haas makes Crazy Eyes surprisingly digestible.

    Marshall Fine — Hollywood & Fine

  • Just because the main characters are in a constant state of depression and angst doesn't mean the audience should have to wallow in their misery as well.

    Todd Jorgenson — Cinemalogue.com

  • The film seems to aim for a gritty and real depiction of a drug- and drink-fueled not-quite romance, but it's in fact just your worst fears about the kinds of people who populate L.A. brought to ugly, misogynistic and sometimes maudlin life.

    Alison Willmore — Movieline

  • The only audience likely to respond favorably to this vanity production about the slow, painful self-discovery of a rich, young Hollywood filmmaker would be other rich, young and screwed-up Hollywood filmmakers. But even they might be put off.

    Shirley Sealy — Film Journal International

  • Sherman's feature turns out to be enamored of the kind of reality that gets left out of movies not because it's provocative or controversial, but because it isn't particularly interesting.

    Sam Adams — AV Club

  • While the male characters are certainly not presented as models of enlightened behavior, their antics and crises are indulged in a manner not extended to their female counterparts.

    Andrew Schenker — Slant Magazine

  • [VIDEO ESSAY] Matching the cold, callused, cynicism of Bret Easton Ellis's LA Gen-X "Less Than Zero," "Crazy Eyes" is too much in love with its spoiled brat protagonist. It is still a guilty pleasure in the theater of cruelty.

    Cole Smithey — ColeSmithey.com

  • Crazy Eyes feels a bit like a more light-hearted Leaving Las Vegas or a more energetic Somewhere -- comparisons that are meant as compliments.

    Kate Erbland — Film School Rejects

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