Lost Girls & Love Hotels

There is... something well controlled in the movie as it maintains its cool, even pace and Alexandra Daddario's performance as the vulnerable, secretive yet emotionally open Margaret is smart.

This is one of the better intimate dramas of the year.

Too vapid to work as a psychological drama, too silly to work as a passionate romance, and too tepid to work as a sexy guilty pleasure.

This is a sober portrait of a woman in trouble, whose depressive, compulsive and self-destructive tendencies lead her down a dangerous road.

A persuasive depiction of aimless hedonism.

Olsson's film works as an atmospheric mood piece and sometime erotic drama. It's less successful as a character study.

A quiet, studied film that ruminates over isolation.

Daddario is good in every project she takes on, but here her talents are wasted; there is little here to stretch her.

Well-acted, well-executed, and bathed in the moody atmosphere of Tokyo's underworld, Lost Girls & Love Hotels is unquestionably a beauty to look at ... but the film never finds firm footing in its pointless storytelling and lethargic pacing.

It's an act of sharing between Hanrahan, the filmmakers, the cast, and the viewers, and this is what makes it a rewarding experience.