Walter Andrade’s review published on Letterboxd:
This film has great chances to be my favorite Noé.
At some point of the movie, I needed to stop the film and look at the Internet to check if this shit was right. I was completely mesmerized for every movement of this camera, by the illogicality of the subtitles and the acting but this was all too different for me to believe this was made to be so. Well, for my surprise and joy, it was.
Gaspar Noé isn't just a great director. He is indeed innovative, original and audacious as a filmmaker, but he is also a virtuose in the handling of a camera. It's almost unbelievable that he is also his own camera-man. In Irreversible, his camera works better than in an other film of this talented Argentine I've seen.
Although some say this movie is pure brutality without reason to be so, this is completely absurd. Every shocking scene has a strong and gross impact to the viewer, it makes you feel sick not only by the brutality depicted by the chaotic camera work. Being able to feel that, you'll also be able to feel how useless all this brutality is if the time is irreversible.
The inverted chronological order is a original and incredibly powerful technique of diegesis, specially in this film. The edition of this film - which has no decoupage at all - gradually makes the viewer understands why the rape was even more brutal than we used to think and how useless was the violence in the pub. To say you didn't like it is acceptable, but to say this movie is pure aesthetic exercise is simply to say you missed the greatest part of the film, which is precisely the criticism of brutality not by dialogues as usual but rather by a faultless camera work (which rotates both clockwise and spiral to transmits the irreversibility of the events) and brilliant mise en scène.
Irreversible is not only a powerful film but also a fountain of alternative techniques to make good movies that runs out of the ordinary. Superb.