Welcome to New York 2014

Kyle Smith, New York Post: Grunting and boarlike, Gerard Depardieu supplies a one-note rendition of Dominique Strauss-Kahn in Abel Ferrara's peculiarly unilluminating "Welcome to New York." Read more

Scott Foundas, Variety: A bluntly powerful provocation that begins as a kind of tabloid melodrama and gradually evolves into a fraught study of addiction, narcissism and the lava flow of capitalist privilege. Read more

Ignatiy Vishnevetsky, AV Club: What Ferrara, Depardieu, and co-writer Christ Zois have created is a character who can't distinguish between sex and rape-a monster who knows he's a monster, but not why. Read more

Ben Sachs, Chicago Reader: [The] deliberate structure demonstrates Ferrara's artfulness, as does the lush imagery. Read more

Michael Phillips, Chicago Tribune: The film, a sleek and oddly moving study in the cost of debauchery, has its gleeful excesses. Read more

Christian Holub, Entertainment Weekly: Spends too much time bogged down in its more decadent scenes to spark any new insights. Read more

Jordan Mintzer, Hollywood Reporter: It's a rather fascinating bit of artistic self-indulgence that's both made by, and about, self-indulgent men, although one that can certainly grow taxing. Read more

Gary Goldstein, Los Angeles Times: This frank, unruly look at sex, privilege and power unfolds so much like real life that it proves an intriguing and strangely immersive experience. Read more

Rene Rodriguez, Miami Herald: In an Abel Ferrara movie, this sort of damaged, raging, unrepentant bull passes for an antihero. Read more

Richard Brody, New Yorker: The movie packs a singular, agonized vision that seems entirely the director's own. Read more

Richard Roeper, Chicago Sun-Times: Few actors in the world are better suited to play a gluttonous pig than Gerard Depardieu, and I mean that in the best possible way one can make such an assertion. Read more

Tom Keogh, Seattle Times: Circles a point about spiritual corruption without ever landing on it. Read more

Trevor Johnston, Time Out: It's as if Ferrara's just chucked all the bits in the air and left us to deal with it ourselves - which is a surprisingly effective approach to the sort of material that could easily have made for a superficial and preachy movie. Read more

Bilge Ebiri, New York Magazine/Vulture: This is not the kind of material for a stately biopic or a political drama. This is nasty, strange business - perfect for Ferrara, whose work often hovers between art and exploitation, between angst and sleaze. Read more