The New York Times by Dana Stevens

Whether or not The River is, as some critics have claimed, Mr. Tsai's masterpiece, it is an excellent introduction to his oblique narrative style, his favored themes and his careful, lyrical visual sensibility.

Christian Science Monitor by David Sterritt

This atmospheric story unfolds through leisurely shots that invite us not just to watch the characters, but to live and breathe along with them.

San Francisco Chronicle by Edward Guthmann

Uses loneliness and alienation as the primary emotional colors on a surprisingly expressive canvas.

Variety

The three principal actors fit their roles like gloves, and the handsome camerawork (by Liao Peng-jung) is a major asset. There's no music, just natural sounds on the track. Except for a shot in which the microphone boom is clearly visible, the film is highly professional in every aspect.

Variety by David Stratton

The three principal actors fit their roles like gloves, and the handsome camerawork (by Liao Peng-jung) is a major asset. There's no music, just natural sounds on the track. Except for a shot in which the microphone boom is clearly visible, the film is highly professional in every aspect.

TV Guide Magazine by Ken Fox

Despite the inaction, the film culminates in a scene some viewers will no doubt find shocking.

New York Post by Lou Lumenick

So s-l-o-w-l-y paced it seems twice as long as its two-hour running time.

New York Daily News by Jami Bernard

A perfect example of an "art" movie that is so lugubrious and soul-sucking that it's hell to sit through.

Village Voice by J. Hoberman

The absurdity floods the banks of the filmmaker's intentions.