Jovovich toured North America throughout 1994 to promote the album, opening for Crash Test Dummies and Toad the Wet Sprocket, as well as playing smaller acoustic sets.

[2] Jovovich titled the album The Divine Comedy after the 14th-century epic poem by Dante Alighieri of the same name, widely considered the preeminent work of Italian literature.

[9] Chris Willman of the Los Angeles Times called it an album of "acoustic-oriented, airy, folk-pop tunes",[1] while Razor journalist Bret Love noted its "largely acoustic folk-rock" sound and "philosophical lyrics and earnest melodies", which earned Jovovich comparisons to musicians such as Tori Amos and Kate Bush.

[21] A music video for the song, directed by Lisa Bonet and featuring Harry Dean Stanton, was produced, but Jovovich was unsatisfied with the results and decided to film another version.

[9] In Rolling Stone, John McAlley praised the album as "remarkable" and "strikingly mature and rich in invention, counterpointing Milla's lovelorn, angst-laced poetry with vivid melodies and arrangements that find a common spirit in synth pop, European folk and psychedelic dream rock.

"[30] Entertainment Weekly's Dimitri Ehrlich highlighted Jovovich as a gifted songwriter and melodist, noting "an ear for delicate, medieval tunes and aching drama that would make Tori Amos envious.

"[26] Dan O'Kane of CD Review called her "a decent songwriter with a poetic style (in the Kate Bush vein) and a smoky, provocative voice", adding that the album's various "exotic flavors—pipes, panflute, Eastern strings, and chants—make this first effort interesting and different from the onslaught of grrrl rock.

"[34] San Diego Union-Tribune critic Mikel Toombs stated that Jovovich "impressively keeps both her imagery and her import-implying vocals in check" and "supplies just the right touch of the dark drama suggested by the album's unnecessarily pretentious title, and gives all indications of a bright future.

Evoking a curious combination of childlike innocence, Harlequin romance and hippie sentimentality, her songs are tone poems of a sort, inspired by vulnerability and wariness, sung in a small, plaintive, unguarded soprano.

At times she seems hopelessly lovesick, a prime candidate for any heartbreaker's ruse, but on 'You Did It All Before,' 'Clock,' and 'Don't Fade Away' she sounds a lot older and wiser, no stranger to hurt and disillusionment.

"[36] Johnny Cigarettes was more ambivalent in NME, writing that The Divine Comedy lacked "a decent tune" despite Jovovich's "fine voice" and "intriguingly whimsical lyrics".

[41] Slant critic Sal Cinquemani said: Though some of the singer's lyrics can err on the loopy side ... Milla's messages are mostly conveyed through passion, not words, a claim only the finest performers can make.

The listener is transported into Milla's medieval faerie land of Russian folk influences and contemporary synth-pop via a series of eclectic yet seamless tracks like the mesmerizing "Charlie" and the dramatic "Don't Fade Away" ...

Although many were quick to dismiss Milla for attempting to crossover into yet another industry (she has since gone on to headline the Resident Evil film franchise and continues to record music independently), The Divine Comedy stands as one of the best lost pop albums of the '90s.