Metacritic reviews

Lola is played by veteran Spanish actress Victoria Abril, one of Pedro Almodovar's favorites, and though the character sounds familiar, Abril brings so much zest and enthusiasm to its creation that it feels original and makes the passion she inspires believable.

Accurately described as an Icelandic version of Pedro Almodovar's gender-bending black comedies -- but it's also reminiscent of early Woody Allen movies.

A wonderful, cockeyed sex comedy.

While 101 Reykjavik has already been compared to "High Fidelity," with which it shares the notion of an emotionally immature male narrating a tale of his own failings, it's probably closer to something like "Spanking the Monkey," which took the Oedipal angle even further.

Feels as though it is not about much, but it is so well acted that the lassitude becomes a part of the atmosphere.

The tone of the film is in keeping with its most resounding image: Hilynur lying in the snow with a cigarette dangling from his mouth as the suicide note on his chest blows away in the wind as he wakes up.

Fun to watch it may be, but it's shallow fun. Like the drugs and booze the characters keep using -- and even the sex -- it's a passing pleasure.

Much of this is pretty funny, in its perverse, disorienting style, and there's an irrepressible sunniness to the relationship between Lola and Hlynur's mother.

Kormakur's debut feature fulfills the basic requirements of good slacker comedy: It's grounded in quotidian tedium and frustration, and it acknowledges both the humor and pathos of the relevant coping mechanisms (here, lackadaisical flings, porn addiction, amnesia-courting binges).

Characters find themselves in absurdly complicated situations, but respond with sardonic cool rather than hot-blooded hysteria.