Observer by Rex Reed

From Germany, the deeply disturbing domestic tragedy Three Peaks is another film of understated but driving intensity starring Alexander Fehling, a.k.a. the Paul Newman of German cinema.

Variety by Jessica Kiang

Superbly crafted, utterly gripping.

CineVue by John Bleasdale

This is a powerful and beautifully shot film of love and survival.

The New York Times by Ben Kenigsberg

Three Peaks has a placid surface, but Zabeil uses abstraction — with edits that elide information or play tricks with spatial perception — to deepen a trite scenario.

Screen Daily by Sarah Ward

If the film didn’t rest on such composed performances, it might have conjured melodramatic disbelief, but the excellent Fehling and Montgomery play their pivotal figures with the requisite nuance.

Washington Post by Michael O'Sullivan

Three Peaks is not a devastating film like “Force Majeure” — another mountain-set foreign film about the exposure of fissures in a family dynamic — but it is a satisfying one. There’s just enough closure to its inconclusive climax to allow you to relax, even if it doesn’t give you much to terribly ponder during the drive home.

Slant Magazine by Chuck Bowen

The film ably plumbs the fears of a well-meaning man who tries his best to play by the rules of middle-aged courtship.

The Hollywood Reporter by Neil Young

This is a demanding and fitfully rewarding film which focuses minutely on the shifting relationships between its three protagonists.

Los Angeles Times by Kenneth Turan

Three Peaks is a dark little family drama, a ticking time bomb of a movie that is well made but never totally satisfies.

RogerEbert.com by Matt Zoller Seitz

Unfortunately, Three Peaks is so thinly conceived and executed that, for the most part, it fails to justify its existence as a stand-alone feature.