Washington Post by Desson Thomson

It's not every day that movies present a Teutonic character in SS uniform as an unambiguously moral hero, so enjoy this rarity. And the film.

L.A. Weekly by Ella Taylor

Subtle distinctions have not been Costa-Gavras' long suit, but urgency becomes him in this forceful and intelligent evocation.

Los Angeles Times by Kevin Thomas

A handsome period production of fluidity and subtlety, intimate and large-scale.

Miami Herald by Marta Barber

Although the unrelenting pursuit of making the Vatican listen becomes a bit tiresome, the portrayals of the two men by Tukur and Kassovitz are engaging.

Village Voice by J. Hoberman

Costa-Gavras provides a post-war postscript to make clear that honesty is punished; cynicism survives.

Variety by David Stratton

Despite fine performances and the care lavished on the production, Amen. is never as emotionally powerful as it should be.

Slate by David Edelstein

The movie is repetitious, crudely dramatized, and awkwardly acted -- in English, which seems to be the second or third language of everyone involved -- Yet the movie, heavy-handed as it is, serves as a powerful rejoinder to “Blind Spot.”

Chicago Reader by Jonathan Rosenbaum

An absorbing and compelling account of a historical episode that should be better known.

Chicago Tribune by Patrick Z. McGavin

Costa-Gavras' powerful, awkward Amen is a dramatically uneven historical thriller.

Salon by Stephanie Zacharek

Tricked up with so many points that there's barely any flow to it.

San Francisco Chronicle by Mick LaSalle

Unfortunately, structural flaws and a built-in lack of suspense keep it from being nearly as moving as it was intended to be.

The New York Times by Dana Stevens

In the end Amen is neither as moving nor as illuminating as it should be. It suffers especially when compared -- as is inevitable, given the closeness of their release dates -- with "The Pianist," Roman Polanski's movie about a Polish Jew during the Nazi occupation.

New York Daily News by Jack Mathews

Amen is propelled by a most dubious assumption -- Gerstein's belief that if the German people knew of the Holocaust, they'd stop it.

New York Post by Lou Lumenick

While Amen works as a history lesson, it's less effective as a thriller, since the outcome is sadly all too well-known.

Austin Chronicle by Marrit Ingman

Too bloodless to satisfy except as a political exercise.

The New Republic by Stanley Kauffmann

The picture as a whole lacks the energy and incisiveness --the sheer anger-- that have marked Costa-Gavras's best films. A pity, because it is a true Costa-Gavras subject.