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The Independent - Anthony Quinn | Screenrush Barometer:  |
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'This cool-headed, watchful film simply invites us to observe, to imagine, to make up our own minds. That's another way of saying it treats its audience as grown-ups.' |
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Times on Line - Toby Young | Screenrush Barometer: |
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'Michael Haneke's new film takes humanity to task in a disjointed narrative about the origins of Nazism in Germany' |
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Empire - Damon Wise | Screenrush Barometer: |
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'A hard film to love, but a hypnotic meditation on all the elements - gossip, religion, bullying - that can turn a parish and country bad.' |
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The Times - Wendy Ide | Screenrush Barometer: |
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'an extraordinary, rigorous drama' |
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The Daily Telegraph - Sukhdev Sandhu | Screenrush Barometer: |
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At Cannes: 'Shot in lustrous black-and-white, and illuminated by many adroitly parsed performances, this is - by Haneke's normally icy standards - a surprisingly affecting forensic study of social breakdown.' |
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Evening Standard - Derek Malcolm | Screenrush Barometer: |
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At Cannes: 'Impressive new film.' |
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Variety - Todd McCarthy | Screenrush Barometer: |
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At Cannes: "Immaculately crafted in beautiful black-and-white and entirely absorbing through its longish running time ... [it] nonetheless proves a difficult film to entirely embrace." |
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Hollywood Reporter - Peter Brunette | Screenrush Barometer: |
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At Cannes: "a superb cinematic work and an appropriately serious one, given its subject matter and its intentions" |
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The Guardian - Peter Bradshaw | Screenrush Barometer: |
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At Cannes: "has an absolute confidence and mastery of its own cinematic language, and the performances Haneke elicits from his first-rate cast, particularly the children, are eerily perfect." |
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New York Times - A.O. Scott | Screenrush Barometer: |
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'a guilt trip down memory lane. And though the road twists and turns and reveals some pretty scenery, in the end we arrive in a familiar place, to be lectured and scolded by a filmmaker whose rich craft disguises the poverty of his ideas.' |
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