Avaliações do Metacritic

The upside and downside of surveillance cameras are explored in ways both funny and sad in writer-director Adam Rifkin's imaginative, ultimately disturbing ode to high-tech voyeurism.

Surprisingly compelling, if not up to dealing with the larger political issues it raises.

The performances feel natural, improvised, and it’s easy to believe this is the world we inhabit. But if Rifkin’s message is pro-privacy, his script, laced throughout with menace, argues against it.

Conceit often stretches -- and breaks -- the limits of what the tales can handle, though the implication of viewers as voyeurs gives pic a subversive edge.

Look isn't processing, critiquing, or even warning; in the end, it's just recording.

An unsettling, rudely funny but not entirely credible feature.

With its emphasis on its interweaving stories, the movie offers no commentary on the phenomenon of increasingly pried-apart privacy, positive or negative. Not that Look needs to be political, or even particularly deep, but that nonexamination, coupled with lack of real insight into the characters, leaves one sensing an opportunity missed.

Aside from a smattering of irony and a resolution for one of the storylines, the security cameras aren't really threaded into Look's essential purpose. If the idea is that we're always being watched, why does it seem that in this movie, no one's really paying attention?

There are some funny moments, plus occasional nudity and sex, but the joke quickly wears off. What might have worked as a half-hour TV show doesn't suit itself to a feature-length film.