Climax's reviews
Media reviews
Indiewire
'Climax' shares much in common with the levitating camerawork of his divisive 'Enter the Void', but unlike that sprawling endeavor, this 96-minute odyssey feels like just the right length to encapsulate his talent for disorienting viewers while inviting them into his madcap intentions of overtaking their senses. It might be his best movie; it?s certainly the best snapshot of a talented filmmaker committed to fucking with your head.
The Hollywood Reporter
The sensationally titled 'Climax' might have just as easily been called 'Gaspar?s Inferno', so intensely does it portray a descent into a hellish state after its divinely physical first half. Pairing his usual boundary-pushing sex-and-drugs fixation with a vital presentation of wildly exuberant dance and movement, Gaspar Noe has made a film that?s seductive in its rhythms and bold visualization of his young dancers? sometimes beautiful, other times brutal somatic expressiveness.
Vulture
Twenty minutes into Gaspar Noé?s 'Climax', I leaned over to my colleague, giddy with joy, and whispered, ?He has to do so much at this point for me to hate this movie.?
Fotogramas
'Climax' focuses its author marks. The same visual power, and format, the sophisticated style of its crazy credits, the power of the OST, the ironic touch of fascism (A French movie that is proud of being French?) and, of course, the provocation. [...] But it also uses enough innovative elements to let us satisfied, as if we had reached a clímax, and we were smoking a cigarette.
Cinemanía
The orgy-like apotheosis promised by the movie's title takes place on the first scenes. And what a clímax: and ecstatic dance sequence, contagious and surrounding where the characters shake their bodies, making vogue, waacking, locking moves that have their place on this group choreography, portrayed by Benoît Debie's camera with such grace as a Busby Berkeley clubber from the 90's.
Variety
As a filmmaker, Noé is now a junkie of evil. He keeps reaching, through increasingly numb tolerance levels, for a higher high, and he has no idea when he?s crashing. Yet 'Climax' works, at least when it?s willing to be a human drama. But then it sinks in that you?re watching 'Fame' directed by the Marquis de Sade with a Steadicam.