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Jessica Reaves, Chicago Tribune: Let me know if you figure it out. Read more
Jeff Shannon, Seattle Times: Implausibility and banality join forces to turn dot the i into the kind of pretentious, pseudo-clever claptrap that most wanna-be directors get out of their system during film school. Read more
Richard Roeper, Ebert & Roeper: Gael Garcia Bernal I think is really becoming a major force as a leading man. He's very good. Read more
Eleanor Ringel Gillespie, Atlanta Journal-Constitution: While stylishly done, Parkhill's script isn't nearly as clever as he thinks it is, and the sucker punch near the end lacks, well, punch. Read more
Kerry Lengel, Arizona Republic: As much as it tries to be a smart, postmodern indie film, dot the i is pure Hollywood fluff. Read more
Wesley Morris, Boston Globe: Begins as a romantic comedy, turns into romantic thriller, then collapses into a sick and illogical self-reflexive noir. If this sounds even vaguely exciting, I promise it's not. Read more
Bruce Westbrook, Houston Chronicle: Take a long, hard look at Parkhill's film, and you'll find too many i's undotted. Read more
Michael Booth, Denver Post: It plays like the last paragraph of one of those Encyclopedia Brown stories, where the solution is an unknown twin brother or the wrong-sized footprint. Read more
Lisa Schwarzbaum, Entertainment Weekly: Leaves too many t's double-crossed. Read more
Chuck Wilson, L.A. Weekly: More polished verbally, but alarmingly unexpressive nonetheless, Bernal appears to have learned one essential trick of the budding movie star: When floundering, flash that irresistible horndog grin. Read more
John Anderson, Newsday: Like the fire trucks that can't quite reach the burning building, there are a lot of good ideas racing toward Dot the I, and ... they ... can't ... quite ... get ... there. Besides, the movie is intent on self-immolation. Read more
Stephen Whitty, Newark Star-Ledger: Its story is painfully simple. Read more
Jack Mathews, New York Daily News: Far too clever for his own good, Parkhill has fashioned a Chinese box of a story where the first twist sets up a second, that one sets up a third, and so on. Read more
Stephen Holden, New York Times: If Dot the i, the directorial debut of Matthew Parkhill (who also wrote the screenplay), has a crass visual flash, it fails to give its characters any credible substance. Read more
Roger Ebert, Chicago Sun-Times: The movie not only scatters undotted Is and uncrossed Ts in its wake, but unsquared circles, unfactored primes, unrisen souffles and unconsummated consummations. Read more
Mick LaSalle, San Francisco Chronicle: It eventually crosses that elusive line into absurdity, rendering meaningless, in retrospect, most of everything that went before. Read more
Colin Covert, Minneapolis Star Tribune: Inflicts great pain on the audience by wringing its plot into a bruised and pulpy mass. Read more
David Rooney, Variety: Behind its slick veneer and the glibness of its preposterous premise and dark twists, there's a yawning absence of charm or substance in this London-set love triangle, as well as a lack of chemistry between its three leads. Read more
Ben Kenigsberg, Village Voice: Parkhill, far too eager to wow them in the end, has crafted a twist-is-everything scenario, evincing a sub-Mamet level of concern for plot holes or audience satisfaction. Read more
Michael O'Sullivan, Washington Post: Satisfies and disturbs in just about equal measure. Read more
Ann Hornaday, Washington Post: A gimmicky first-time feature that bears all the unfortunate earmarks of an ambitious but empty directorial vision. Read more