CrawlerChunky In truth, there is barely enough story here to make a film.

Quiet Muffin This movie tries so hard to be funny, yet it falls flat every time. Just another example of recycled ideas repackaged with women in an attempt to appeal to a certain audience.

Ortiz Excellent and certainly provocative... If nothing else, the film is a real conversation starter.

Catherina If you're interested in the topic at hand, you should just watch it and judge yourself because the reviews have gone very biased by people that didn't even watch it and just hate (or love) the creator. I liked it, it was well written, narrated, and directed and it was about a topic that interests me.

NateWatchesCoolMovies Lulu On The Bridge is an odd one, and that's a compliment. It subtly strains at the constrictions of genre until you realize just how unique it has gotten right under your nose. I've always thought of it as the Abel Ferrara fiom that he never made. Harvey Keitel delivers a home run of a lead performance as Izzy Maurer, a renowned jazz musician who loses his ability to play after he is shot by a lunatic gunman (Kevin Corrigan) while he is performing his music in a cafe. He sinks into a deep depression following the incident, and then something curious happens. One day he finds a mysterious stone, with a phone number attached to it and some seemingly supernatural qualities which alter the psyche, mood and perception of anyone in its vicinity. The phone number leads him to Celia Burns (the ever excellent and under estimated Mira Sorvino), an aspiring actress who's fallen just south of the success line, and has a taste for Izzy's music. The two seem destined to meet and as you might guess, begin a passionate love affair that begins to get a bit obsessive, with strong hints directed towards the stone that seems to govern will and volition. Their romance is hot, heavy and volatile, threatened when a mysterious man named Dr. Can Horn (a classy but dangerous Willem Dafoe) separately kidnaps them in attempt to retrieve the stone. The script deliberately shades over its true intentions until the very last minute, stopping to pick many dialogue and thematic flowers along the way, as well as leave a few red herrings behind. Gina Gershon is great as Izzy's ex wife, and the monumantal supporting cast also includes Richard Edson, the great Victor Argo, Harold Perrineau, Mandy Patinkin, Vanessa Redgrave and a brief Lou Reed who is pricelessly credited as 'Not Lou Reed'. If you snag a DVD you can also see deleted scenes work from Stockard Channing, Jared Harris, Josef Sommer and Giancarlo Esposito. The film attempts music, mystery, doomed love, urban mysticism, thriller and drama elements. I'm happy to report that it succeeds at all of them, a gem not unlike the mcguffin stone within the plot, and a haunting little modern fairy tale. Check it out.

acelavelle I really think this movie is terrible. I bought it in Paris because it came free with Mean Streets(a real movie) . The plot is totally ludicrous. What was the story with the weird stone? I have never seen such a load of garbage in my life. This movie is real gay. i felt so strongly about this that i should warn people about it. I would have expected an awful lot more from Harvey Keitel. Seeing him like this is like seeing Clint Eastwood sweeping the dirt at your feet. Do not watch this movie. What really annoys me is that I actually paid money for this tripe. Had i known it was so bad, i would have bought Mean Streets elsewhere. I never heard of this film before i bought it. it is so gay

Yanisel The originality of the screenplay, the pace of the story-telling, the cast and the direction, the photography and the editing -- as much suggestive and poetic, as they are soft-voiced. What an extraordinary treat for the many "lucky few", who can savour the refined taste offered here! Huge gratitude to the makers of "Lulu on the Bridge", for demonstrating their faith in the sensitivity and intelligence - of at least a significant part - of today's movie-lovers... A final praise is reserved for Harvey Keitel's depth of performance.Apologies for also dropping two critical remarks but, if I give 8 stars out of 10, then perhaps I may be excused: The last scene of Keitel with Patinkin should have been cut, as being superfluous. And that phrase, when Willem Dafoe claims 'Oh... We are the good guys, I can assure you!', seems rather an unworthy device (used by a lesser script-writer) of assuring us, the audience -- because... a·n·y singular difference between "them" and the "bad" guys remains unexplored, and undefined.Nevertheless, allow yourself to be completely mesmerized, by this very precious little stone!

Tiger_Mark I know that it was not, but it seemed like this film was about six hours long. Now by saying that, I am not implying you get your money's worth, quite the opposite. What I want to know, is how you could put together a cast this interesting and make a film so boring. I would feed you the plot, but it would bore you so much you would stop reading this review. Meanwhile, the "Academy Award Winning" Mira Sorvino (choke choke gasp gasp) is more and more being referenced with "I can't believe the Academy actually gave her an award." Cheer up, Mira, Angelina Jolie got one as well, she will take some heat off of you. * out of ****.