Entertainment Weekly by Lisa Schwarzbaum

The tonal elegance of this black comedy set in a dark time -- is boldly dependent on performances that tug at taut lines of moral complexity.

Los Angeles Times by Kenneth Turan

Not only is the film that good, it's also that wonderfully, inescapably Czech.

Washington Post by Rita Kempley

Profound, powerful Czech import takes a tragicomic approach to the Holocaust, though unlike Benigni's film, the movie does not sentimentalize those caught up in the Nazi dragnet.

Boston Globe by Jay Carr

The film's triumph - and it is a triumph - in the end rests on the ability of Hrebejk and his actors to convince us that they never stop being normal people.

Philadelphia Inquirer by Desmond Ryan

The film treats the ensuing issues of conscience and compromise with subtlety and warmth.

Time by Richard Schickel

The result is a lovely movie, one that allows its characters unexpected spurts of growth and regression, darkness and grace.

L.A. Weekly by Ella Taylor

Divided We Fall briskly, often hilariously, forbids us to wallow in the specious comfort of untainted local heroes or irredeemable villains.

Washington Post by Desson Thomson

Based on a true story, the movie takes us through some harrowing times.

San Francisco Chronicle by Bob Graham

Audiences will talk about how satisfying this movie is.

New York Daily News by Jami Bernard

Parts of the movie play like French farce, but ultimately Hrebejk uses very simple cadences to unveil, movingly, the big picture.

Wall Street Journal by Joe Morgenstern

Bears no resemblance to the smarmy fraud that Roberto Benigni perpetrated in "Life Is Beautiful."

Austin Chronicle by Marrit Ingman

This a deeply humane and affecting movie, surprisingly gentle in spite of its black-comic tinge, and without the slightest hint of schmaltz.

Village Voice by J. Hoberman

In its compassionate absurdism and underlying dark humor, the movie seeks to reestablish contact with the Czech new wave.