आलोचक समीक्षाएं

Prince's narcissism was easier to take than than that of his contemporaries Sylvester Stallone or Rob Lowe: he didn't regard the rest of the world as an insult to his estimable self.

It’s really Prince who’s the ingenue here. He engages in much mock-effeminate vamping, scampers around the French Riviera in outfits that would have humbled Liberace, and grants himself the most melodramatic death scene since Camille.

Shot in black-and-white in an attempt to evoke the sophisticated burr of '40s films, its intent is hamstrung by over-familiar gags, though the script comes more to life when Prince and Benton lapse into black street talk during their pursuit of moneyed women.

Not even the soundtrack can save Under the Cherry Moon .

For all those out there who can't get enough of Prince, Under the Cherry Moon may be just the antidote.

In Under the Cherry Moon, the self-styled auteur is obviously aiming for a romantic tragedy with occasional lighthearted moments. What he ends up with, however, is purest camp.

In Under the Cherry Moon, Prince tries to direct too, giving himself a lot of closeups kissing but hardly any of him singing. What is left is a trite story about a rich girl and a poor musician (Prince) that's set on the Riviera and shot in, of all things, black and white.

Anarchistic, self-indulgent and monumentally self-obsessed.

There are elementary school playgrounds with substantially higher levels of verbal wit and intellectual discourse than Under The Cherry Room.

As a director Prince doesn't show even a rudimentary sense of visual style, and his acting skills equal what his direction calls for. The whole film plays exactly for what it is, one long essay in ego massaging.