"... a light confection with a tasty Isabelle Huppert performance at its center...Chabrol knocks off a witty psychological thriller--more gothic than noir...'Merci is filled with peculiar characters and sharply drawn physical types." --J. Hoberman, The Village Voice

"Mr. Chabrol's droll assault on petit-bourgeois security feels like a satire of 'Ordinary People' directed by Alfred Hitchcock...Mr. Chabrol uses the somnolent performance by Ms. Huppert--which, frankly, doesn't differ from many of her others--for a note of sober inscrutability. She's a cast-iron waif, and her detachment lends itself to her seemingly blithe efficiency...the audience may find itself playing the game that Mr. Chabrol inspires more than any other European director: Who'll star in the eventual, and probably inevitably overscale, American remake?" --Elvis Mitchell, The New York Times

"Not since Cary Grant offered Joan Fontaine a gleaming glass of milk has a bedtime toddy looked as suspicious as it does in Claude Chabrol's wittily enigmatic 'Merci Pour le Chocolat'...Huppert's ability to make the internal external is breathtaking...The thrill is in watching, through mirrors and mirrored picture frames, as Mika's poisonous nature begins to seep out."--Jami Bernard, The New York Daily News

"Claude Chabrol, who has been referred to as the Alfred Hitchcock of France since the 1960s, serves up one of his most diabolical and intricate thrillers...Like some of Hitchcock's films, the story can be accused of stretching credibility and coincidence almost to the breaking point...But Chabrol ratchets up such a level of suspense--and Huppert gives such a mesmerizingly deadpan performance--that 'Merci Pour le Chocolat' turns out to be as irresistible as a piece of dark chocolate." --Lou Lumenick, The New York Post

"Huppert is the whip-wielding dominatrix of emotional control, and of the oxymoronic technique--the hysterical silence, the venomous caress. Teamed with Claude Chabrol, still the most accessible, consistent and hard-working remnant of France's '50s Nouvelle Vague, as well as the closest thing we have to Hitchcock, they create an otherworldy magic..." --John Anderson, Newsday

"Much is suspected, but almost nothing is confronted until the end of the film, which concludes with one character in a fetal position and the other in a bizarre state of moral detachment...This is one of Mr. Chabrol's subtlest works, but also one of his most uncanny. Along with Eric Rohmer, he remains a glorious survivor of the Cahier-ist nouvelle vague, and an artist still in the hunt." --Andrew Sarris, The New York Observer