Time Out by David Fear

This unflinching parable brings the hammer down on its cinematic brethren's fetishization of cell-block Rockefellers. R's final shot says it all: The house wins. The house always wins.

New York Post by V.A. Musetto

If you were among the many who thought highly of "A Prophet," the French prison drama that played here last year, you'll want to see the brutally realistic Danish thriller R.

Slant Magazine by Glenn Heath Jr.

If the trajectory of R foreshadows tragedy early and often (what prison film doesn't?), the filmmakers manage to infuse quiet moments of reflection and panic into each man's traumatic experience.

The New York Times by Stephen Holden

Isn't as hellish as the situation behind bars is portrayed in American movies, some of which are so gory they qualify as prison porn. But it is awful enough.

Variety

More pathetic than sympathetic, the young protags are not romanticized or made heroic. While this suits the style of the picture, which never conforms to the melodramatic conventions and stock characters of the prison genre, it also works against audience identification.

Variety by Alissa Simon

More pathetic than sympathetic, the young protags are not romanticized or made heroic. While this suits the style of the picture, which never conforms to the melodramatic conventions and stock characters of the prison genre, it also works against audience identification.

Village Voice

Following "Prophet" director Jacques Audiard's lead, Lindholm and Noer attempt to make up in raw emotion what their film lacks in context, an approach good for a surprising amount of mileage, until the project finally chokes on its own inevitable nihilism.

Village Voice by Andrew Schenker

Following "Prophet" director Jacques Audiard's lead, Lindholm and Noer attempt to make up in raw emotion what their film lacks in context, an approach good for a surprising amount of mileage, until the project finally chokes on its own inevitable nihilism.