Abounds in psychological suspense and plays like a mystery film, even though the mystery at hand may be purely one of the human heart.

Has extraordinary depth and insight about the limitations and follies of human beings.

Beautifully acted film remains deeply intelligent and always fascinating.

Though Signs & Wonders loses its bubbles and runs flat in its anticlimactic final moments, it's far more inventive and demanding than any movie of recent memory.

Jonathan Nossiter's second feature (after the intricate and haunting ''Sunday'') strikes unnerving chords of mystery and dismay as it fuses the sinister, jump cut dislocations of a metaphysical thriller like ''Don't Look Now'' with a pain soaked meditation on love, guilt, marriage, and adultery.

The best performance is by Rampling. (The) camera hangs on her, knowing that nothing escapes those wise, sad-lidded eyes.

Unusual and imaginative drama.

As a drama about the ravages of mental illness, the movie works; too bad most of the critics read it only as a romantic soap opera in which the hero is an obsessive sap. They read the signs but miss the diagnosis.

Offers up keys and cakes and plunges its characters down a deep rabbit hole.

This is a sensitive, thinking person's movie with a lot on its mind.

Spare and coolly evocative, it's a chilling accomplishment.

Skarsgard's performance is bold and raw (and reminiscent of vintage Jack Lemmon in its earnestness).

Nossiter's premise is good, and he intrigues us with stylish conceits, but he makes a crucial casting error. Alec ought to be someone we care about.

Pretension looms, and for many the web of symbolism will be too thick. But Rampling, to her credit, helps hold the nuthouse together.