San Francisco Chronicle by Mick LaSalle

In color, style and humor — even in its graphics and editing — it’s very much like a Godard film from the mid-1960s. Thus, the experience is like watching an actual Godard film — the first great Godard film since “Masculin Féminin” in 1966.

Screen Daily by Jonathan Romney

It’s a dazzlingly executed, hugely enjoyable act of stylistic homage, but also the poignant story of a dysfunctional marriage and an insightful recreation of a critical and contradiction-ridden period of modern French history.

Screen International by Jonathan Romney

It’s a dazzlingly executed, hugely enjoyable act of stylistic homage, but also the poignant story of a dysfunctional marriage and an insightful recreation of a critical and contradiction-ridden period of modern French history.

IndieWire by Eric Kohn

Light and inoffensive, it trades the intellectual rigor of Godard’s work for fluffy sentiments, but never gets crass. Above all else, it succeeds at transforming cinephile trivia into a genuine crowdpleaser.

The Film Stage by Rory O'Connor

It’s more Pastiche du Godard than Histoire(s) du Godard in Michel Hazanavicius’ Redoubtable and that’s not a bad thing.

Variety by Owen Gleiberman

A lightly audacious and fascinating movie (if not exactly one to warm your heart).

Wall Street Journal by Joe Morgenstern

The result is an entertainment of surprising liveliness. It’s also mindbait for Godard fans in which admiration for what the venerable filmmaker has achieved--he’s still turning out films at 87--is mixed with faintly elegiac regret for the stern, remote figure he’s become.

Vanity Fair by Jordan Hoffman

Hazanavicius is one of our weirder directors. His schtick is to parrot other styles, either with his parody Bond films (the two OSS 117 movies) or The Artist. But Le Redoutable is his best work, I think, and not just because I’m fond of the French New Wave.

The Playlist by Nikola Grozdanovic

It’s all fun and games and one big, great joke as we watch the cantankerous Jean-Luc dismiss his admirers and spit on contemporary cinema, but it’s hard to praise Redoubtable as a great film once its final act comes around

Entertainment Weekly by Chris Nashawaty

Michel Hazanavicius’ new film, Godard Mon Amour, tackles that period in Godard’s life on and off the screen — and does it in a dismissively light-hearted way that I’m sure the auteur himself loathes.

The Hollywood Reporter by Todd McCarthy

Although the film manages some disarming insights into the man’s complex makeup and difficult behavior, a service enhanced by Louis Garrel’s very good lead performance, serious cinephiles will likely reject it as glib and disrespectful, while more mainstream viewers could be amused but not that interested.

The Guardian by Peter Bradshaw

Michel Hazanavicius’s Redoubtable is a reasonably funny, moderately interesting movie, wearing its sprightly colourful pastiche like dry-cleaned retro couture.

CineVue by John Bleasdale

Garrel and Miller manage to create a credible chemistry.

The A.V. Club by Ignatiy Vishnevetsky

Though adapted from her memoirs, Godard Mon Amour dubiously minimizes her character. The most it offers is a depiction of a deteriorating marriage between a beautiful woman and an asshole who’s in the middle of a crisis of artistic conscience. And Godard already made one of those. It’s called "Contempt."

Slant Magazine by Sam C. Mac

Michel Hazanavicius co-opts Jean-Luc Godard's personal life for cheap prestige-picture sentiment.