Amen.

The New York Times by Dana Stevens

In the end Amen is neither as moving nor as illuminating as it should be. It suffers especially when compared -- as is inevitable, given the closeness of their release dates -- with "The Pianist," Roman Polanski's movie about a Polish Jew during the Nazi occupation.

Washington Post by Desson Thomson

It's not every day that movies present a Teutonic character in SS uniform as an unambiguously moral hero, so enjoy this rarity. And the film.

Village Voice by J. Hoberman

Costa-Gavras provides a post-war postscript to make clear that honesty is punished; cynicism survives.

New York Daily News by Jack Mathews

Amen is propelled by a most dubious assumption -- Gerstein's belief that if the German people knew of the Holocaust, they'd stop it.

New York Post by Lou Lumenick

While Amen works as a history lesson, it's less effective as a thriller, since the outcome is sadly all too well-known.

Austin Chronicle by Marrit Ingman

Too bloodless to satisfy except as a political exercise.

San Francisco Chronicle by Mick LaSalle

Unfortunately, structural flaws and a built-in lack of suspense keep it from being nearly as moving as it was intended to be.

Chicago Tribune by Patrick Z. McGavin

Costa-Gavras' powerful, awkward Amen is a dramatically uneven historical thriller.

The New Republic by Stanley Kauffmann

The picture as a whole lacks the energy and incisiveness --the sheer anger-- that have marked Costa-Gavras's best films. A pity, because it is a true Costa-Gavras subject.

Salon by Stephanie Zacharek

Tricked up with so many points that there's barely any flow to it.