La celda

Tarsem Singh intenta innovar el motivo clásico del thriller de la caza de un asesino en masa con el arte visual de excursiones oníricas a su mente. El plano de thriller también alcanza en algunos momentos, gracias a la música de Howard Shore el impacto de los mejores momentos de Seven. Las visiones oníricas también son asombrosas. Pero la combinación de estos dos elementos no funciona en la película y la convierte en un mero experimento cinematográfico. (11.04.2002)

A decade older predecessor to Inception with the dense atmosphere of The Silence of the Lambs or Seven. Fortunately, the rumors about Tarsem Singh being a visual magician were not just idle talk... The Cell is truly a feast for the eyes (definitely not for the soul, some of the scenes are really strong). I also give it an unconditional five stars (despite the lackluster Vince Vaughn) for Shore's wonderfully weird score. (01.03.2013)

I like bizarre oddities. I like films that are out of the ordinary, which The Cell undoubtedly is. I like visually sophisticated films, and Tarsem Singh didn't skimp on his directorial ideas and the cinematographer also went the extra mile. Add to that Howard Shore's brilliant, also very catchy and severely underrated soundtrack, then my rating is quite easy. And Lopez can act! (13.01.2003)

For those seeking eccentricity, visual effects, and a departure from the mainstream in a film, The Cell might hit the mark. The dream sequences are visually provocative, sexually enticing, and appropriately imaginative. However, for those looking for a well-rounded, thoroughly developed movie with a quality script, The Cell will be a waste of time. It primarily lacks a gripping story and a strong protagonist. Jennifer Lopez cannot even be considered an average actress, so she works best in the film when she isn't trying too hard and simply exists - with striking makeup and extravagant costumes. This blend of film experiment and crime genre didn't work out very well. Overall impression: 40%. (17.05.2007)

Apparently, it’s not possible to create anything new in the crime genre, and thus it's up to the filmmaker's imagination and willingness to play with all the established clichés. Tarsem Singh, a young directorial debutant full of predatory Indian blood, conceived the film, for the most part, as a riveting dreamlike escapade in which almost anything is possible. Most filmmakers put the imprint of their soul in their films and frankly, if dream trips are the imprint of Singh's, I wouldn't want to be his psychiatrist. You don’t often see an obscure monstrosity, combining a child's fascination with simple toys (dolls) with a kitschy and exaggerated Bollywood-style set design (creative decorations, costumes), rendered with a few brilliantly executed camera twists and supported by a mesmerizing and maximally "off" soundtrack by Howard Shore. Maybe that's why it's possible to forget about the scriptwriting impotence and enjoy the form to the last drop, which wins overwhelmingly this time and for once it's actually not a bad thing. (11.06.2006)