New York Magazine (Vulture) by David Edelstein

In the flawless cast, Williams is the most affecting.

Chicago Sun-Times by Roger Ebert

Mammoth is a perfectly decent film. Too bad it isn't more thoughtful. It's easy to regret misfortune if all you do is regret it.

Wall Street Journal by Joe Morgenstern

Mammoth manages to be as affecting as it is heartfelt.

Time Out by Joshua Rothkopf

Moodysson hasn’t exactly descended to "Babel"-level pabulum with Mammoth, his first foray into English; these characters are too fascinatingly thorny, and he still has a supple way with a pulse-throbbing dance tune.

The Hollywood Reporter by Kirk Honeycutt

If one thinks of "Babel" minus the melodrama and histrionics, you get a clearer picture of what Moodysson has done here.

New York Post by Lou Lumenick

This overlong drama is the first (mostly) English-language film from the talented Swedish filmmaker Moodysson (“Lilya 4-Ever”). Any semblance of subtlety was unfortunately lost in translation.

The New York Times by Manohla Dargis

Mr. Moodysson has never met a pleasure he didn’t want to punish.

The A.V. Club by Noel Murray

While Mammoth is frequently poignant and beautifully acted--especially by Williams, who’s so lost and lonely that she becomes casually cruel--the movie lacks the personal touch that’s distinguished even Moodysson’s “difficult” films.

Variety

A mixed bag, Mammoth is a good-looking, smoothly directed, continent-hopping drama about parents and children, globalization and the disconnect between rich and poor, but comes with too much repetitive exposition and lacks an emotional payoff.

Variety by Alissa Simon

A mixed bag, Mammoth is a good-looking, smoothly directed, continent-hopping drama about parents and children, globalization and the disconnect between rich and poor, but comes with too much repetitive exposition and lacks an emotional payoff.

Chicago Reader by Andrea Gronvall

Moodysson’s meticulous attention to surfaces allows him to draw a stark contrast between the Americans’ affluence and the Asians’ poverty, but his final observation--that somehow the rich will muddle through--is hardly a bold statement.

Village Voice by Melissa Anderson

Grossly exaggerating his characters' either/or constructions, Moodysson forgoes any real ideas about the world's vast inequities, content to pummel his audience with portentous global guilt-tripping.

New York Daily News by Joe Neumaier

The overlapping stories, the emotional disconnect, the heavy-handed symbolism -- no, it's not a movie from the makers of "Babel," its a mumbling, stammering copycat drama from Swedish director Lukas Moodysson.