The Hollywood Reporter by Jonathan Holland

Despite his clear interest in matters philosophical, Veiroj has a built-in anti-pomp detector and The Apostate, with its winsomely shambling central character, is always deft, engaging and teeming with ideas.

Screen Daily by Lee Marshall

Like the film, the soundtrack doesn’t quite know where it’s going, but it takes us on a curious and often engaging stroll.

Los Angeles Times by Robert Abele

It’s a movie that ultimately may mean more to those raised in heavily Catholic cultures, but it has an engaging prickliness as a satiric peek into the life of a brooding idealist.

Screen International by Lee Marshall

Like the film, the soundtrack doesn’t quite know where it’s going, but it takes us on a curious and often engaging stroll.

Village Voice by Michael Atkinson

Ogalla makes it happen: Bedroom-eyed and shaggy, looking every inch like a reincarnation of dead-too-soon ‘70s French star Patrick Dewaere but without the haywire intensity, he's an amiable spectacle.

Slant Magazine by Clayton Dillard

The Apostate finds humor in unusual images or situations, few resounding with lasting impact.

Variety by Scott Tobias

Gonzalo’s dalliances add up to precious little, but Veiroj’s comic tone finds purchase in his absurd run-ins with the bishop and a church so unwilling to lose a member from the rolls that they’ll stick him in a bureaucratic roundabout until he gives up.

The New York Times by Andy Webster

The Uruguayan director Federico Veiroj’s leisurely comedy-drama The Apostate has its charms, though the story (and its hero) could benefit from a tarter approach.