60
The movie's mundane account of moving on is ultimately more gripping than its wooden metaphors.
What are people saying?
What are critics saying?
50
Slant Magazine by Andrew Schenker
This is one film that's overly reliant on a dubious central symbol, schematically employed.
60
New York Daily News by Joe Neumaier
Falls short of being revelatory, yet has a mysterious, sturdy power that grows on you.
50
The Globe and Mail (Toronto) by Liam Lacey
By the time we reach the climactic ending, the script clearly calls for an exorcist with a chainsaw to trim back this metaphor run amok.
50
Village Voice by Melissa Anderson
In her second film, writer-director Julie Bertuccelli, adapting Judy Pascoe's 2002 novel, "Our Father Who Art in the Tree," is sometimes partial to clumsy dialogue and scattershot pacing.
67
Yes, the idea that the tree/father is literally tearing this family apart is way too blunt, but Gainsbourg and Davies sell it by playing the scenes naturally, with minimal histrionics.
60
Boxoffice Magazine by Richard Mowe
Stunningly shot by cinematographer Nigel Bluck (Handsome Harry) the film captures beautifully the magic of the foliage and the surrounding landscapes.
55
On a technical level, The Tree marks a significant advance over the humble utility of Bertuccelli's previous film, drinking in Australia's pastoral majesty with an abundant eye for beauty that falls just short of the intended poetry. Yet the characters aren't nearly as resonant.
80
The New York Times by Stephen Holden
The movie is truly a tree-hugger's delight (I confess to being one such hugger) that makes the most of its metaphors without straining toward supernatural schmaltz.
75
Be warned: The Tree is slow-moving, but if given a chance, it will (pardon the pun) grow on you.