TV Guide Magazine by Ken Fox

Twenty years ago, Li's film might have served as a warning; today, it rues a dehumanizing economic system run rampant that leaves one sad slave wife to muse, "It's easy to die. It's living that's hard."

Los Angeles Times by Kevin Thomas

This is a resolutely tough-minded, beautifully crafted film so compelling as to make bearable watching the nearly unbearable.

Chicago Tribune

Li’s story is lean and economical, but deeply harrowing, as Xuemei--sympathetically played by debuting performer Huang Lu, the only classically trained actor in a cast of non-professionals--clings to her courage and tries again and again to escape.

New York Post by V.A. Musetto

A stinging and frightening indictment of mainland China.

Chicago Tribune by Tasha Robinson

Li’s story is lean and economical, but deeply harrowing, as Xuemei--sympathetically played by debuting performer Huang Lu, the only classically trained actor in a cast of non-professionals--clings to her courage and tries again and again to escape.

San Francisco Chronicle by Walter Addiego

A potent drama from Yang Li, one of China's Sixth Generation filmmakers noted for the stark realism and documentary feeling of their work.

The New York Times by Manohla Dargis

Blind Mountain is a reminder that art sometimes keeps the truth alive far better than the news.

The Hollywood Reporter by Ray Bennett

The film's economical style, vivid cinematography and tremendous acting should attract audiences far and wide.

The A.V. Club by Noel Murray

Blind Mountain would be better-served by more touches of universality, as in the scene where a neighbor woman comforts Huang by saying, "All women go through this." That scene flirts with metaphor. The rest of the film too often descends into harangue.

Variety by Derek Elley

Low on drama and originality, and high on deja vu, sophomore outing by writer-director Li Yang ("Blind Shaft," 2003).

Village Voice by J. Hoberman

Blind Mountain forces its way through numerous illogicalities and several plot lapses to a violently abrupt ending.

Chicago Reader by Andrea Gronvall

The movie not only indicts the country's embrace of capitalism by showing how low people will sink to make money, it also denigrates the agrarian class--once celebrated as heroic under Mao--by portraying its members as illiterate barbarians concerned only with continuing their family lines.