Los Angeles Times by Gary Goldstein

Francella and Lanzani are excellent, not only in their charged moments together, but throughout this nervy and provocative picture.

Arizona Republic by Randy Cordova

Trapero handles the movie's pacing with a masterful ease.

The Globe and Mail (Toronto) by Julia Cooper

Trapero reveals the ways in which truth can be much stranger, more tragic and confused, than fiction.

TheWrap by Alonso Duralde

Unsettling and bizarrely humorous, The Clan is the sort of film that ups the ante of any movie that dares open with those dreaded five words: “Based on a true story.”

The Film Stage by Zhuo-Ning Su

It’s true that none of this is particularly groundbreaking and that, as hinted above, the limitations of a biographical film are still palpable towards the end, but the pure, visceral satisfaction of seeing an exciting story expertly told cannot be denied either.

Variety by Peter Debruge

Argentine powerhouse Pablo Trapero (“Carancho,” “White Elephant”) takes a case so upsetting many refused to believe it was possible and retells it in ghastly detail from the p.o.v. of the perpetrators in The Clan, a muscular, Hollywood-style account of the Puccio fiasco.

The Telegraph by Robbie Collin

Effortless tracking shots, spasms of sickening violence and a perfectly pitched jukebox soundtrack are all conspicuously and stylishly deployed, sometimes all at once.

The New York Times by A.O. Scott

The cleverest and most troubling aspect of the film is its empathy.

Time Out London by Dave Calhoun

The Clan shouldn’t be as enjoyable as it is. But it’s a delight to be in the hands of a storyteller who can impress you with his stylistic bravado (one sequence cuts together a nasty death with ecstatic sex) while never losing sight of the suffering at the story’s heart.

Miami Herald by René Rodríguez

The strained, strange relationship between father and son ultimately becomes the emotional center of The Clan, culminating with an astonishing closing shot guaranteed to induce startled gasps. It’s a great, jarring moment that is the work of a filmmaker clearly in love with his craft — and a flavor for the darker side of human nature.

The Playlist by Jessica Kiang

It's Arquimedes who emerges as the film's most indelible character, aided by Francella's fabulously icy performance. Lacking even the warmth of a Don Vito, Arquimedes comes across not as a man who does everything for his family, but as a man who expects his family to do everything, even damn themselves, for him and his twisted, heartless, self-centered worldview.

Village Voice

Billed as a thriller, The Clan doesn't quite thrill but instead instills a slow-building dread of the inevitable.

The Hollywood Reporter by Boyd van Hoeij

There are no false notes in the ensemble but Francella, with dyed grey eyebrows, and Lanzini, saddled with black sideburns the size of dead mice, are clearly best in show. And the film finally gives audiences the long-awaited confrontation between the two in a strong sequence toward the end.

New York Post by Farran Smith Nehme

Swift, confident, and exceptionally nasty, this Argentine film bears roughly the same relationship to the Martin Scorsese of “Goodfellas” that Brian De Palma does to, well, all of Hitchcock.

CineVue by John Bleasdale

There is something of Scorsese to this rise and fall of a criminal family and Trapero crams The Clan with life.

Slant Magazine

The Pablo Trapero film's parallels are drawn so bluntly that they lose all suggestive force, since there's little left to suggest.