I quote a translated German review from Matthias Merkelbach.
"The Consequences Of Love is (...) a neo-noir, or perhaps more accurate than neo-giallo," writes James Ubaghs in his article Youth Gone Wild: The Early Films of Paolo Sorrentino. For me, the film is a wolf in sheep's clothing and in its development of an almost unique stringency. From the luxurious, inviolable security of this Swiss hotel to a gravel pit in no-man's-land, the audience witnesses a multifaceted life story. Such is in its design and with a view to the final chord in the film Noir settled and by author and director Paolo Sorrentino (Eternal Youth, ITA / FRA / UK / SW 2015) staged with a flair for the essentials and a pinch of black humor. Many film critics pointed at the time and have since pointed out that the film is enormously "stylish", which is certainly true. But The Consequences Of Love does not stifle its aesthetic or, due to a lack of substance in its narrative, retreats to the sophistication of camera work. Rather, the cosiness of the hotel, which flatters the eye, is counteracted by the coolness and sadness lying outside. The focus is on the lost love between Titta di Girolamo and Sofia, the double portrait of unfulfilled promises on a dark ground. The unfolding and development of the participating role chracters carry the film to the end, which in turn is perfectly coherent - the final note in a rich in surprises score of screenplay."
"With its significant parallels to Pen-Ek Ratanaruang's Life after Death in Bangkok (THAI / JPN 2003), The Consequences Of Love proves that the contemporary neo-noir is not repeating common storylines, an endless series of Cop thrillers and Heist films must exhaust. He brings with the Neapolitan Camorra as a crime syndicate in international cinema already exhaustively exhausted employer for anti-heroes of the blow Titta di Giralimos. And an anti-hero, as he is often found in the history of the film Noirs, that is the protagonist of the film through and through. All the more astonishing how Sorrentino in the field of tension between romanticism and destiny, in which the narrative rushes like a Greek tragedy against the neuralgic wed-point of the paths of destiny, actually gives the old acquaintance new facets. This is achieved through a dramaturgy already created in the script, which involves the viewer in a fun cat-and-mouse game. He can barely guess what kind of movie he'll see in the first 25 minutes, and everything that happens after that and also makes the kick-off in a different light is masterfully timed."