आलोचक समीक्षाएं

Those seeking more adventurous, cerebral, inspired stuff will get a helluva kick.

Any film which features Demi Moore breathily vamping her way through an appreciation for her dishwasher and which permits Andrea Riseborough to deliver a performance as gloriously OTT as this one has plenty to recommend it.

Kramer sketches out a feverish queer manifesto on gender that feels both novel and familiar.

Of those who will seek this out, they’re either going to really dig it or just absolutely loathe it. There is no middle ground here, but Riseborough’s performance deserves to be seen by everyone.

Kramer and Riseborough are clearly on the same wavelength, both understanding that though the representation in Please, Baby, Please is important, it is most vital the film be entertaining. In both respects they find success.

The film’s ironic tone largely defangs the transgressive films it parodies, but Kramer does broaden the scope of the queer leather canon.

The film’s unapologetic level of artifice is at once the source of its pleasures and limitations.

With its bisexual lighting and hyper-designed oddball aesthetic, Please Baby Please looks a lot more polished than its messier camp influences. Aesthetically, the film cobbles together its many cinematic influences with admirable swagger. But film isn’t solely a visual medium — it’s a storytelling one as well.

A fascinating but frustrating overreach that is never more fun than when it’s most over the top, but never really gets a handle on what it’s supposed to be about.

While it’s drenched in style and features performances from an eclectic cast of actors who are deeply committed to the bit, and its expressions of erotic desire can be quite steamy, director and co-writer Amanda Kramer’s film feels limited and grows tiresome rather quickly.