Entertaining from beginning to end, it maintains the spirit of the franchise while establishing it's own seal with a fun cast

Good films always raise compelling questions, whether the format is fiction or documentary fact.

A movie that not only functions as a solid scarefest but a razor-sharp satire.

I didn’t really have many expectations going into the movie (good or bad), but I actually really enjoyed it. I really liked the characters and the banter between them.

Although the two protagonists are so different from one another in age, socio-economic status, education, they are both lonely souls who have been deprived of guidance and love. It is the blind leading the blind as they come together in a kind of relationship of convenience.It seems at first that Dominique seeks a walk on the wild side, but ultimately to tame and to nurture her conquest, while Quentin seems to take even temporary financial support wherever he can find it. The characters' development, through their relationship with each other, and as they expose how their inner life has been conditioned before they met, is a kind of dance of the seven veils.Neither is who each seems and manages to defy the inevitable stereotype we expect to fit the story's premise. The nuanced twists and turns in character, and particularly as they forge a relationship with "the other," demands subtle acting. Both actors are up to the task. Martinez's presence grows as an essential humanity is revealed that elevates him above his day to day urge for survival and autonomy. Isabelle Hubert stuns by restraint, bringing vulnerable dignity to Dominique's emotional trajectory.They can not change the fate of their relationship, but they leave a lasting impression on each each other nonetheless.

I really enjoyed watching this film because of the passion and sensuality it portrays. I have been watching BRAVO for quite a while now and when it showed this film, I fell in love with it. It starts out strange but gets deeper as you realize just how much in love these two characters are. The ending is a little bit sad and so if you enjoy sensuality this is your film.

Isabelle Huppert is as beautiful as ever, but it is hard to see why her character does the things she does in this confused tale of cross-generational lovers. As a middle-aged businesswoman, Huppert takes a much younger bisexual bartender/hustler into her home, pays his debts, buys him clothes. He never seems to treat her well enough to justify her generosity, and he never seems interesting or lovable enough to justify her affection. It all comes unravelled eventually, after enough nude love scenes to keep most of the audience awake most of the time.

"Middle-aged divorcee picks up barman in gay bar" isn't a promising plot-line; the title's soft-porn suggestion is also off-putting. But in fact it's a delicate and attractive handling of what could have been sordid relationships. The key word, I suppose, is "tender"; we are frequently led to expect violence (the barman Quentin is a kick-boxer - we watch him attacking a punchbag during the title sequence) but are instead surprised by reasonableness and gentleness. The few nude scenes manage to be erotic without ever being vulgar. Relationships are weird, the film (and Mishima's novel) seems to say, but there can still be tenderness in life. Isabelle Huppert exudes French charm . . .