A rare book dealer finds himself at the heart of a string of paranormal events when he is hired to find the last two copies of a text, The Nine Gates of the Kingdom of Shadows, capable of summoning the Devil.
American critics largely dismissed The Ninth Gate as a slow, ludicrous thriller that wastes its atmospheric style on a story that never pays off, while European reviewers were considerably more sympathetic to its deliberate pace and ironic tone — a transatlantic split that defines the film's reputation. The ending drew particular frustration, with many feeling Polanski built tension toward a revelation that simply never arrives. Depp's performance is almost the one point of agreement, though even that divides people: some see it as the film's lone asset, others as embodying the story's fundamental unpleasantness.
“while at the end, I didn't yearn for spectacular special effects, I did wish for spectacular information — something awesome, not just a fade-to-white”
Roger Ebert·Chicago Sun-Times
“about as scary as a sock-puppet re-enactment of The Blair Witch Project, and not nearly as funny”
Elvis Mitchell·The New York Times
“aroma of middle-brow, art-house Euro-rot, a whiff of decay and hauteur in a film not even a star as foxed, and foxy, as Johnny Depp, himself, could save”
Lisa Schwarzbaum·Entertainment Weekly
“not particularly liked at first outing — partly because Johnny Depp, in fake grey temples, personifies the odious Corso of the book a little too accurately — the film is intricately well-made, deserves a second chance, despite its disintegrations, and, in time, will undoubtedly acquire its own coven of heretical fans”
Phillip Strick·Sight and Sound
“Polanski's sly sense of film-noir conventions pokes fun at the genre, while, at the same time, honoring it”
Bob Graham·San Francisco Chronicle
Mystery, Thriller
A rare book dealer finds himself at the heart of a string of paranormal events when he is hired to find the last two copies of a text, The Nine Gates of the Kingdom of Shadows, capable of summoning the Devil.
American critics largely dismissed The Ninth Gate as a slow, ludicrous thriller that wastes its atmospheric style on a story that never pays off, while European reviewers were considerably more sympathetic to its deliberate pace and ironic tone — a transatlantic split that defines the film's reputation. The ending drew particular frustration, with many feeling Polanski built tension toward a revelation that simply never arrives. Depp's performance is almost the one point of agreement, though even that divides people: some see it as the film's lone asset, others as embodying the story's fundamental unpleasantness.
“while at the end, I didn't yearn for spectacular special effects, I did wish for spectacular information — something awesome, not just a fade-to-white”
Roger Ebert·Chicago Sun-Times
“about as scary as a sock-puppet re-enactment of The Blair Witch Project, and not nearly as funny”
Elvis Mitchell·The New York Times
“aroma of middle-brow, art-house Euro-rot, a whiff of decay and hauteur in a film not even a star as foxed, and foxy, as Johnny Depp, himself, could save”
Lisa Schwarzbaum·Entertainment Weekly
“not particularly liked at first outing — partly because Johnny Depp, in fake grey temples, personifies the odious Corso of the book a little too accurately — the film is intricately well-made, deserves a second chance, despite its disintegrations, and, in time, will undoubtedly acquire its own coven of heretical fans”
Phillip Strick·Sight and Sound
“Polanski's sly sense of film-noir conventions pokes fun at the genre, while, at the same time, honoring it”
Bob Graham·San Francisco Chronicle
Mystery, Thriller