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Reviews Counted:59
Fresh:15
Rotten:44
Average Rating:4.6/10
Consensus: dot the i starts out as a standard love triangle, but last minute revelations turn the movie into a gimmick.
Runtime: 1 hr 32 mins
Genre: Romance, Music (General), World Music
US Box Office: $0
Synopsis: dot the i, a romantic thriller with a dark comedic twist, stars Gael García Bernal, who shot to fame in AMORES PERROS (Best Actor, Cannes Semaine de la Critique), Natalia Verbeke and James D'Arcy.... [More]
Starring: Gael Garcia Bernal, Natalia Verbeke, James D'Arcy, Charlie Cox
Director: Matthew Parkhill
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.
'Un filme inteligente y perfectamente bien estructurado en el que nada es lo que parece'
So in love with its own inventions and convolutions that it ignores all plausibility and audience acceptance.
While Parkhill's filmmaking remains almost hypnotic throughout, the increasingly nonsensical manipulations doom Dot the I to being a deftly made blunder.
Here's something you don't find everyday! An original film superbly acted!
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.
the film becomes entirely meta-fictional and I simply gave up caring
Barnaby's game -- or, rather, director Parkhill's -- is, at best, a draw.
While the plot whirls around with a number of deft twists and deepens into darker layers, the story is emotionally uninvolving.
[a] gimmicky love triangle...an okay enough exercise, but has no emotional reverb
Inflicts great pain on the audience by wringing its plot into a bruised and pulpy mass.
Dark, funny, quite a thriller... It's a forgettable title (that doesn't work in English), but you won't forget the wicked fun of the movie.
Dot the I doesn't suffer from a lack of skill. Rather it becomes a lesson in the pitfalls of moviemaking that runs on cleverness and too little else.
The movie not only scatters undotted Is and uncrossed Ts in its wake, but unsquared circles, unfactored primes, unrisen souffles and unconsummated consummations.
Top CriticThe result is funny in its way, and in line with the movie references throughout, but ultimately the viewer is not left with the necessary pathos.
If you find dense, self-conscious mystification decorated with all kinds of fashionable postmodern gimmicks more than a bit annoying, best to look elsewhere.
A curious mélange that works more often than not.
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.
Dot the I is no different than the “emotional snuff film” it pretends to condemn, wiping out human emotion in favor of soulless twists.
The revelation of the film is not Bernal but D'Arcy, who loafs from a callow throwaway part into something a heck of a lot more interesting.
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