Variety by Guy Lodge

Not merely a story of interspecies hierarchy, then, White God also puts forward a simple but elegant metaphor for racial and class oppression, as the outcast (or even outcaste) masses, sidelined in favor of the elite few, band together to assert their collective strength.

Los Angeles Times by Robert Abele

By turns Dickensian, Marxist and dystopian, it's a movie as deliriously unclassifiable as it is expertly focused in its desire to provoke and entertain.

Wall Street Journal by Joe Morgenstern

The whole production speaks well for the power of film; it’s a serious stunner.

Miami Herald by René Rodríguez

White God is the rare sort of movie in the era of computer-generated special effects where you can’t believe your eyes, because what you’re looking at is real.

The Playlist by Jessica Kiang

Overall a triumphantly idiosyncratic film with smarts and visceral impact in equal measure.

New York Magazine (Vulture) by David Edelstein

Árpád Halász is the credited “animal trainer for 280 dogs,” Teresa Ann Miller the handler of Bodie and Luke — better actors than half this year’s Academy Award nominees. This is the new gold standard for nature-bites-back movies.

The New York Times by Manohla Dargis

In classic narrative fashion, Mr. Mundruczo works the setup like a burlesque fan dancer, teasing out the reveal bit by bit.

Philadelphia Inquirer by Steven Rea

White God offers a dark - very dark - take on the way humans exert authority, and superiority, over our fellow creatures.

RogerEbert.com by Matt Zoller Seitz

A brutal but stirring fantasy.

New York Post by Farran Smith Nehme

White God has been compared to “The Birds,” but there are also echoes of “Lassie Come Home” and even “Dirty Harry.” Director Kornél Mundruczó goes big with allegory, violence, drama and sentiment, and the results are riveting.

The Telegraph by Mike McCahill

A social conscience movie with real cinematic bite.

Total Film by Jamie Graham

Who let the dogs out? This is Homeward Bound: The Incredibly Harrowing Journey, with the feelgood payoff arriving after many feel-shit sequences. Well worth it, though.

Empire by Damon Wise

Superbly acted allegorical drama with a climax that is not only breathtakingly exciting but flawlessly handled.

Time Out London by Cath Clarke

If it wasn’t so violent, the simplicity of the metaphor – how the abused and outcast will rise up – would work for young audiences. And you won’t beat it for dog acting.

The Guardian by Peter Bradshaw

White God works as an ambiguous satire of power relations generally: eventually the lower orders will rise up. The film has a flair and a bite which I have found lacking in Mundruczó's earlier films.

CineVue by Ben Nicholson

The ultimate message may be a little fuzzy, but Mundruczó has crafted a incredibly cinematic canine parable that remains gripping and inventive from its nose to its tail.

The Hollywood Reporter by Stephen Dalton

The premise of this Hungarian/German/Swedish co-production is solid, even if the execution feels a little slack and the running time too long.

Slant Magazine by Jesse Cataldo

It affects a general air of artistically inclined realism, but it's mostly concerned with building tension via a steady accumulation of flatly conceived misery.