TV Guide

By Ken Fox
Even Wong's detractors, who consider him more stylist than auteur, will have a tough time dismissing the extraordinary emotional depth he achieves here.
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Chicago Reader

By Lisa Alspector
Writer-director Wong Kar-wai makes these five self-consciously idiosyncratic types--often seen through distorting lenses in cinematographer Christopher Doyle's somber, garish Hong Kong--fully and instantly believable.
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Los Angeles Times

By Kevin Thomas
An exhilarating rush of a movie, with all manner of go-for-broke visual bravura that expresses perfectly the free spirits of his bold young people. [22 May 1998, Pg.F9]
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Wong Kar-Wai's cinematic style is unmistakable: hip, colorful and energetic and the film's frenetic pacing and exuberant camera work make the streets of Hong Kong a neon wonderland.
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Austin Chronicle

By Russell Smith
If you're fed up with the stultifying, formula-driven character of today's mainstream films, give Fallen Angels a try. At the very least you'll be engaged, and if you're lucky you may just recapture some of your original wonder at the seductive power of movies.
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San Francisco Examiner

By G. Allen Johnson
Fallen Angels is proof that Wong will try anything, and the result is an eclectic mix of images and disjointed editing, sounds and rhythms that are at times as powerful as any piece of filmmaking likely to be seen all year. It can also, every once in awhile, be tedious and trying.
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San Francisco Chronicle

By Edward Guthmann
It's hard to follow, the characters are ill-defined, and the wide-angle shots used by Wong's perennial cinematographer, Christopher Doyle, are deliberately unflattering.
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Chicago Sun-Times

By Roger Ebert
To describe the plot is to miss the point. Fallen Angels takes the materials of the plot -- the characters and what they do -- and assembles them like a photo montage. At the end, you have impressions, not conclusions.
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New York Daily News

By Dave Kehr
Dull it is not, but Wong's trademark sense of romantic melancholy fails to jell amid all the excess, and the film turns frankly silly once the mute starts imagining himself in love with a can of sardines. [21 Jan 1998, Pg.37]
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A colourful and stylish romp, for sure, but a feeling of restlessness sets in long before the series of false endings that finally bring it to a close. Time passes, things happen, but nobody emerges very much wiser.
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71 out of 100
Generally favorable reviews
Metascore® based on all critic reviews. Scores range from 0 to 100, with higher scores indicating more favorable reviews.