The Nomi Song 2004

Chicago Tribune: Read more

Tom Keogh, Seattle Times: Compassionate and critically astute. Read more

AV Club: Read more

Ty Burr, Boston Globe: Amusingly and wistfully records how the artist and his crowd tried to make a success of it beyond the Mudd Club and other downtown haunts. Read more

Kevin Crust, Los Angeles Times: Horn, who knew Nomi, does an excellent job of evoking the exhilaratingly hedonistic period the film covers as well as the long shadow that the coming of AIDS casts over it. Read more

Jonathan Rosenbaum, Chicago Reader: The Nomi Song is pieced together from photos, performance footage, and talking-head interviews, but director Andew Horn has taken great care to fashion a strong story arc. Read more

Owen Gleiberman, Entertainment Weekly: Forget Devo, Nico, Bowie, or Beefheart: The most mesmerizing freak show in the history of rock & roll was Klaus Nomi. Read more

Ernest Hardy, L.A. Weekly: On the one hand, this is standard-issue autobio documentary filmmaking; on the other, with Klaus Nomi as the focus of our attention, all conventional notions (and notions of convention) are altogether burned away. Read more

Elizabeth Weitzman, New York Daily News: Like most cult bios, this barely skims its subject's private life. Fortunately, there are copious clips of Nomi's mesmerizing performances. Read more

Dana Stevens, New York Times: Chronicles the short and haunting life of Klaus Sperber, a trained classical singer from Essen, Germany, who came to New York as a young man in the late 1970's. Read more

Roger Moore, Orlando Sentinel: This is fascinating stuff if you know just the commercial side of that strange music and fashion ripple known as New Wave. Read more

Neva Chonin, San Francisco Chronicle: Horn does more than simply pay homage to a late artist. He uses his subject to revisit the euphoria of artistic and musical culture at a crossroads, and in the process brings it, briefly and poignantly, back to life again. Read more

Colin Covert, Minneapolis Star Tribune: Andrew Horn's film charts Nomi's remarkable rise, his brief cult fame and his untimely flameout in 1983 as one of the arts community's earliest AIDS fatalities. Read more

St. Louis Post-Dispatch: Read more

Time Out: Read more

Leslie Felperin, Variety: An absorbing homage to obscure but fascinating late '70s-early '80s German stage artiste Klaus Nomi. Read more

J. Hoberman, Village Voice: Made with considerable wit and style, Horn's thoughtful celebration of the era and its most uncanny diva could function as the show's supplement. Read more

Michael O'Sullivan, Washington Post: Mostly fascinating, but occasionally frustrating. Read more

Ann Hornaday, Washington Post: Paints a vivid portrait of the sense of play and possibility that animated the best of the punk and new wave movements. Read more