Entertainment Weekly by Leah Greenblatt

The movie may feel minor next to Vinterberg’s more serious work, but it’s more personal, too: A messy, tender window into the world that shaped him.

Total Film by James Mottram

The resulting drama offers a great showcase for Dyrholm, whose slide towards instability is the film’s core.

Time Out London by Tom Huddleston

The Commune may veer towards sentimentality in the final act...but overall this is a warm, sharply characterised and absorbing melodrama.

Washington Post by Pat Padua

Dyrholm, who deservedly took the prize for best actress at last year’s Berlinale for her sensitive performance as Anna, movingly captures the struggles of a middle-aged career woman who revels in the new freedoms of the 1970s, while ultimately falling victim to them.

Paste Magazine by Andrew Crump

All the components for bite are here, from unflattering character portraits to hideous amorality, but The Commune never clamps down quite as hard as you’d like it to. Your time won’t be wasted with the movie, but it won’t send you out of the theater scarred, either.

Wall Street Journal by Joe Morgenstern

This Danish-language film about a Copenhagen commune in the mid-1970s pulses with screwy energy and antic confusion.

Los Angeles Times by Robert Abele

As an ensemble movie, The Commune isn’t the most gripping, but when it zeroes in on Dyrholm’s affecting portrayal, it’s like Tolstoy’s famous line about the uniqueness of unhappy families, poignantly adapted for group living.

Christian Science Monitor by Peter Rainer

Dyrholm’s extraordinary performance is conspicuously better than Thomsen’s. She’s the best – the only – reason to check out The Commune.

Slant Magazine by Christopher Gray

The Thomas Vinterberg film's sentimentality is suspect, laced with an intriguing but vague strain of bitterness.

The Globe and Mail (Toronto) by Nathalie Atkinson

The problem is it’s not that bizarre a love triangle and the interesting tangle of supporting stories and complications get short shrift by focusing there in the second half.

Screen Daily by Wendy Ide

The film is a patchwork portrait that combines the joys and irritations, the petty arguments and the homespun warmth of this environment.

The Telegraph by Tim Robey

The Commune doesn’t openly stumble so much as constrict itself awkwardly inside its main love triangle, short-changing the terrific supporting cast, and nearly forgetting what we thought it was all about.

Variety by Guy Lodge

For Vinterberg, this uneven but nonetheless absorbing pic at least marks a return to characteristically bristly territory.

Screen International by Wendy Ide

The film is a patchwork portrait that combines the joys and irritations, the petty arguments and the homespun warmth of this environment.

The Hollywood Reporter by Stephen Dalton

The Commune effortlessly entertains at a TV sitcom level, with its pithy dialogue, its chorus of thinly drawn caricatures and its cozy sense of mockery towards the failed social experiments of past generations. But as serious cinema, it feels limited for the same reasons.

The Guardian by Peter Bradshaw

The lack of development in the supporting cast is a problem. Nothing, or almost nothing, of any consequence happens to these people. The title is a bit misleading: there is no real communal plot development.

The Film Stage by Giovanni Marchini Camia

Ends up probing largely universal quandaries to lackluster results.

The Playlist by Jessica Kiang

Despite presenting an environment enriched to weapons-grade plutonium levels with potential for interpersonal drama, Vinterberg can’t seem to find any.