pulling the feels…
pulling the feels…
FLICKFEEL
59
from 30 comments
COMMUNITY
—
nobody yet
YOURS
—
…
FUN
11
how good a time it was
MEANINGFUL
56
how much it moved you
Two separate readings, not parts of the score — the score says how much of it held you, these say what kind of watch it was.
Nobody has rated this on FlickFeel yet. This is public discussion of this title, read into a curve. It is not a rating and it never becomes one.
Read from 30 comments (27 from Metacritic, 3 from TMDB reviews) — 13 of them described how it moves.
Thin evidence — the shape below rests on 13 comments. The shaded band is how wide the uncertainty actually is, and it is drawn to scale.
Not enough people said when to name this shape. The line is what the evidence draws, not a finding.
Hover the curveDrag across the curve to see what people said at any point.
“After 15 minutes I still forced myself to keep watching.”
Segfault · TMDB reviews ↗
“After 30 minutes I had seen nothing worth to see, wasted half an hour of my life.”
Segfault · TMDB reviews ↗
“the opening really is the ending of the film, and the ending is actually the start of the film, so please be aware when watching this film its in reverse order story wise and, its camera work is certainly one of the best ever produced, the sound work mirrors the camera work, and is very hypnotic, and is meant to create a state of nausea and anxiety, it is very gritty gay scene in france and its hyper realistic violence and rape scenes within this film, which very few people will enjoy actually watching it, because of that or the reverse order of the story”
akarta · TMDB reviews ↗
“In this version we work our way backwards from the frenetic activities of “Marcus” (Vincent Cassel) and his friend “Pierre” (Albert Dupontel) as they race round Paris in the early morning vengefully trying to track down a brute who gruesomely attacked his girlfriend “Alex” (Monica Bellucci) in a city underpass as she walked home. Auteur Gaspar Noé spares us little, visually or audibly, as the two men react with violent anger uncontrollably attempting to trace the culprit; nor is much left to our imagination during the assault itself which in many ways almost mitigates the behaviour of “Marcus” as his boundaries completely evaporate into a sea of fury.”
CinemaSerf · TMDB reviews ↗
“many quit within the first ten minutes because of the chaotic camera”
chriss17eu · Metacritic ↗
“whose raw and brutal acting makes the film’s hardest moment unbearably real”
chriss17eu · Metacritic ↗
Read 28 Aug 2026 · confidence 66% · scored on the same 0-100 scale as a community score · how this works
Published reviews, not felt experience — a different question from the one above, and never mixed into the FlickFeel score.
“After a while, a didactic overdeliberateness seeps into Noé's design, but there's no doubt that he's a new kind of dark film wizard: a poet of apocalyptic shock.”
Owen Gleiberman, Entertainment Weekly · 91
“The moral of Irreversible -- time destroys everything -- isn't nearly as profound as writer-director Gaspar Noé seems to think it is, which is why some critics have already dismissed the movie as the facile, misogynistic posturings of a provocateur.”
Rene Rodriguez, Miami Herald · 88
“Whatever else it may be, Irreversible is disturbingly unforgettable. It is impossible to have a blasé reaction to a film this visceral. Indifference is not an option.”
James Berardinelli, ReelViews · 88
“It would be easy and convenient to dismiss Irreversible as blatant sensationalism. But Noe's bruising film is too artfully crafted to write off as exploitation.”
Peter Travers, Rolling Stone · 88
“A demanding but rewarding emotional odyssey in a challenging visual package.”
Lisa Nesselson, Variety · 80
Scores from Metacritic and Rotten Tomatoes, read 28 Aug 2026. Quotes belong to their publications and link to the full reviews.
it reviews better than it plays — critics 71, the watch 59
Grouped by where it was written, because a considered review and a reaction typed an hour after the credits are different things. Every quote links to its source.
“many quit within the first ten minutes because of the chaotic camera”
chriss17euabout 0–10% inread it ↗
“whose raw and brutal acting makes the film’s hardest moment unbearably real”
chriss17euabout 33–66% inread it ↗
“i still couldn't stand the sometimes too long sequences”
Habibiehakimabout 0–100% inread it ↗
“needlessly long 'shock' scene halfway through the film”
RustyDiamondsabout 33–66% inread it ↗
“After 15 minutes I still forced myself to keep watching.”
Segfaultabout 0–15% inread it ↗
“After 30 minutes I had seen nothing worth to see, wasted half an hour of my life.”
Segfaultabout 0–33% inread it ↗
“the opening really is the ending of the film, and the ending is actually the start of the film, so please be aware when watching this film its in reverse order story wise and, its camera work is certainly one of the best ever produced, the sound work mirrors the camera work, and is very hypnotic, and is meant to create a state of nausea and anxiety, it is very gritty gay scene in france and its hyper realistic violence and rape scenes within this film, which very few people will enjoy actually watching it, because of that or the reverse order of the story”
akartaabout 0–15% inread it ↗
“In this version we work our way backwards from the frenetic activities of “Marcus” (Vincent Cassel) and his friend “Pierre” (Albert Dupontel) as they race round Paris in the early morning vengefully trying to track down a brute who gruesomely attacked his girlfriend “Alex” (Monica Bellucci) in a city underpass as she walked home. Auteur Gaspar Noé spares us little, visually or audibly, as the two men react with violent anger uncontrollably attempting to trace the culprit; nor is much left to our imagination during the assault itself which in many ways almost mitigates the behaviour of “Marcus” as his boundaries completely evaporate into a sea of fury.”
no tags yet — rate this flick to drop some vibes ✨
CinemaSerfabout 0–15% inread it ↗