The director has managed the difficult feat of making a nonlinear film that contains a handful of almost unbearably suspenseful sequences, each one undercut by bizarre black humor.

Hilariously unhinged, but also desperate and confused.

A most ambitious first film. Dominik pulls it off impressively, assisted by a selfless cast, a driving score by Mick Harvey, and gifted cameramen Kevin Hayward and Geoffrey Hall.

Bana, who appears in nearly every shot, talking all the while, gives a remarkably mercurial performance.

Mr. Bana's Chopper is so scarily convincing that he makes you feel the eruptive force of each mood swing and the way his character's paranoia, egomania and conscience- stricken apologies are part of a volatile emotional cycle.

Not everyone's cup of tea, but it's actually rather beautiful.

Too quick to uncritically and unthinkingly accept its subject's rollickingly self-mythologizing take on himself.

It's Eric Bana, a popular Australian stand-up comic, who justifies our interest with a dazzling performance of blunt humor, unpredictability and an edge of menace.

An impressionistic portrait of the seductive nature of evil.

Its dabs of dark comedy and stabs of gore, still rings with a sense of the real. It's electric-charged.

Pulls no punches - blood flows very freely (including the ear-cutting scene) and black humor abounds.

Bloody, profane and compelling, Chopper marks an impressive debut for Dominik and a revelation of Bana's talent.

Eric Bana's performance suggests he will soon be leaving the comedy clubs of Australia and turning up as a Bond villain or a madman in a special-effects picture. He has a quality no acting school can teach and few actors can match: You cannot look away from him.

Grotesquely violent, horribly funny.