Entertainment Weekly by Lisa Schwarzbaum

The result, in Pina, is...wow.

Salon by Andrew O'Hehir

You don't have to know the first thing about modern dance to be transported to an alternate state of consciousness by Pina, which is utterly free of Wenders' cloying sentimentality (perhaps because it's an elegy for a dead friend) and might be the first of his films I've loved all the way through since his 1987 masterpiece, "Wings of Desire."

Chicago Reader by Andrea Gronvall

The movie he (Wenders) went on to make with her Tanztheater Wuppertal is more than an elegy; his meticulous use of 3D endows the performances with a corporeality and intimacy hitherto unseen in a dance film.

Chicago Tribune by Michael Phillips

In both theatrical environments and open-air ones, with Wenders paying close attention to the geometrics as well as the psychology of the movement, Pina is the best possible tribute to Bausch, and to adventurous image-making.

Philadelphia Inquirer by Steven Rea

The real 3-D experience of the season is Pina, Wim Wenders' shockingly beautiful and moving tribute to the late German choreographer Pina Bausch.

Charlotte Observer by Lawrence Toppman

Most documentaries put us inside people's heads. The dazzling, experimental Pina puts us inside people's feet.

St. Louis Post-Dispatch by Calvin Wilson

The result, Pina, is the most spirited and spectacular film about dance since Robert Altman's "The Company."

Variety by Leslie Felperin

Offering further proof that the latest 3D technology is good for a lot more than just lunging knives and fantastical storylines, Wim Wenders' dance docu Pina reps multidimensional entertainment that will send culture vultures swooning.

Movieline by Stephanie Zacharek

What's remarkable about Pina is how democratic it is, how casual it is about opening up the world of modern dance to people who know, or perhaps care, little about it.

Los Angeles Times by Kenneth Turan

Whether you're familiar with Pina Bausch's work or not, the new film Pina is a knockout.

The Hollywood Reporter

Wim Wenders' stylish 3D mirrors the bizarrely captivating world of choreographer Pina Bausch.

The New Yorker

What is unambiguous is the campaign that Pina mounts, with joy and without fuss, against age discrimination; by law, the film should be screened, on a monthly basis, for Hollywood casting agents.

Village Voice by Melissa Anderson

Pina gives us the supreme pleasure of watching fascinating bodies of widely varying ages in motion, whether leaping, falling, catching, diving, grieving, or exulting. Wenders's expert use of 3-D puts viewers up close to the spaces, both psychic and physical, inside and out, of Bausch's work.

Time Out by Joshua Rothkopf

This isn't the kind of doc to explain everything (or anything, really)-it does honor its subject, though, and that's plenty.

The Globe and Mail (Toronto)

Bausch's work, as performed by her dance company Tanztheater Wuppertal, is shot exactingly by Wenders, who captures everything from the largest gestures to the subtlest facial nuances in ways impossible in 2-D – and of course in far closer detail than seeing the dances performed live.

The A.V. Club by Noel Murray

It's also representative of Pina's major flaw: the inability of artists to get out of their own way.

Empire by David Hughes

It's a surprise to see Wim Wenders embracing 3D in its full, feature-length glory but the medium works well to capture the graceful swirl of the German choreographer's work.

Slant Magazine

Go after Pina and you're going to have to go through a mob of modern-dance zealots first.