The Hollywood Reporter by Todd McCarthy

In every sense, The Great Museum (Das grosse Museum) imparts a feeling of privilege — privilege on the part of those (the Hapsburgs) who built and opened Vienna's extraordinary Kunsthistorisches Museum in 1891, privilege among those lucky enough to work at such a rarified establishment and privilege on the part of any viewer of Johannes Holzhausen's wonderfully evocative and droll documentary.

CineVue

The Great Museum is a beautiful love letter to obsession and eccentricity, the love is given and received in equal measure. This, at its nature is what art should do, and what cinema strives for and rarely achieves, with this poetic discourse about the difficult question of what to do with the art of robber barons in relation towards a finality that befits such a collection.

CineVue by D.W. Mault

The Great Museum is a beautiful love letter to obsession and eccentricity, the love is given and received in equal measure. This, at its nature is what art should do, and what cinema strives for and rarely achieves, with this poetic discourse about the difficult question of what to do with the art of robber barons in relation towards a finality that befits such a collection.

Slant Magazine by Clayton Dillard

The ghostliness of the Kunsthistorisches Museum in Vienna derives from an identity crisis, where digitization threatens to eradicate the gallery space.

Village Voice by Serena Donadoni

Holzhausen is respectful but not reverential, portraying the museum as a living thing that's being cared for with meticulous diligence.

Variety by Jay Weissberg

There are no interviews, thankfully no voiceovers, and no music; Holzhausen respects the viewer’s intelligence, just as he respects the museum staff.

The Guardian by Peter Bradshaw

A pleasing, high-minded film; also something of a palate-cleanser.

Empire

In avoiding narration, interviews, music or any traditional method to draw the audience in, the film has a cold, unengaging feel, leaving it mostly for art buffs who like seeing taxidermied bears having their hair fastidiously cleaned with a tiny toothbrush.

Empire by Ali Plumb

In avoiding narration, interviews, music or any traditional method to draw the audience in, the film has a cold, unengaging feel, leaving it mostly for art buffs who like seeing taxidermied bears having their hair fastidiously cleaned with a tiny toothbrush.

The New York Times by Ben Kenigsberg

The Great Museum, in comparison, feels like a cursory guided tour.

The Dissolve by Andrew Lapin

The film creates a kind of romantic view of the minutiae of running a museum, yet it’s barely concerned with the actual artwork housed within. Maybe this won’t matter to the audience, if they find the mere idea of a museum fascinating on its own.