50
The Rashevski Tango begins and ends with a burial, but the movie teems with cranky life, then heals all rifts with a dance that sets a seal of comically erotic approval on that undying genre, the domestic melodrama.
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What are critics saying?
40
New York Daily News by Joe Neumaier
The central metaphor of dance, though, is forced, a standard-issue cliché about dancing away problems.
50
The New York Times by Neil Genzlinger
In the end, though, Mr. Garbarski makes no judgments, which leaves this film feeling sweet but light: we already knew that Judaism, like most other religions, is an ever-evolving collage.
50
Picture touchingly conveys the everyday closeness of the Rashevskis, who are wont to tango their troubles away, but spiritual upheavals and tonal shifts feel artificial and strained.
60
Director Sam Garbarski’s focus occasionally skews narrow, but he does evoke the anxiety of reconciling a strict faith with secular times.