Patrick Brennan’s review published on Letterboxd:
I'm probably going to write something a little bigger about this when I have the chance. I've seen a lot of talk about this movie being a a screed, one last threnody for a dying artform. That's part of Holy Motors, but I think that's a simplistic reading of it. It's not just a hurled grenade. It's a love song. And above all it's a challenge. Carax, the man behind something audacious as the fireworks scene in The Lovers on the Bridge, doesn't want to see that type of filmmaking die in an era when digital filmmaking makes it so much easier to make small, quiet films.