Screen International by Tim Grierson

As with his United 93 and Captain Phillips, filmmaker Paul Greengrass has taken a horrifying true story and brought sober perspective to it — in the case of 22 July, suggesting that a community’s response to terror can be as critical to a democracy as the attacks themselves.

The Hollywood Reporter by David Rooney

It's both a pulse-pounding depiction of the deadly attacks that shook Norway in 2011 and a sober investigation of the aftermath, evolving into a gripping courtroom drama and a tremendously emotional personal account of one family's struggle to move on.

The Guardian

Refusing to make Breivik spectacular, the film pays tribute to process, how Norway gave him precisely what he was entitled to so as not to give him what he wanted – scale, martyrdom, glamour.

Screen Daily by Tim Grierson

As with his United 93 and Captain Phillips, filmmaker Paul Greengrass has taken a horrifying true story and brought sober perspective to it — in the case of 22 July, suggesting that a community’s response to terror can be as critical to a democracy as the attacks themselves.

The Guardian by Danny Leigh

Refusing to make Breivik spectacular, the film pays tribute to process, how Norway gave him precisely what he was entitled to so as not to give him what he wanted – scale, martyrdom, glamour.

Consequence by Randall Colburn

22 July is a thoughtful, gutting achievement that you’ll likely never want to watch again. Greengrass’ approach here is graceful and deeply resonant, but it’s undoubtedly draining, especially considering you still have roughly two hours to go after the shootings that ignite the narrative

Los Angeles Times by Kenneth Turan

Working closely with master editor William Goldenberg, Greengrass has given 22 July a relentless, remorseless quality, insisting on a matter-of-fact style that allows no escape from reality even while refusing to push anything too hard.

RogerEbert.com by Glenn Kenny

22 July is at its most engrossing and moving in its depiction of one brave kid, a victim of Breivik who was shot five times and lived, and that kid’s eventual resolve to face the terrorist in court.

The Associated Press by Mark Kennedy

With tenderness and toughness, Greengrass has made a great film about a terrible act.

The Telegraph by Robbie Collin

It is less a true-life thriller than a kind of justice procedural – and a sharp, scouring work of moral seriousness from Greengrass.

The Playlist by Jessica Kiang

Crudely put: it is distancing to hear people cry for help or speak anguished, halting truths from their hearts in a second language, and for all the bruising effectiveness of the filmmaking at times, it’s a distraction which 22 July never quite overcomes.

IndieWire by Michael Nordine

Though full of anger and grief, the film is more than just a screed. Greengrass’ docu-real aesthetic doesn’t allow for grandiosity even when he gives in to more heavy-handed impulses. He’s on a soapbox at times, but his message is worth hearing.

Variety by Guy Lodge

It’s intelligently stern, storm-gray filmmaking, as we’ve come to expect from Greengrass; if it feels a bit mechanical as well, perhaps this is a near-impossible story to film with both tact and soul.

Time Out by Phil de Semlyen

Greengrass’s heart lies in exploring the ways a nation processes such a horrific, unexpected event, but Breivik’s odious ideas also get a comprehensive airing along the way. It makes for an uncomfortable, challenging watch.

CineVue by John Bleasdale

The first forty minutes or so are – as you would expect – a harrowing recreation of the bombing and the crime.

The Film Stage by Rory O'Connor

The director over-simplifies the killer, portraying a perpetrator of some of the most heinous acts imaginable as a basic fool with mommy issues. It’s crass and careless stuff in a crass and careless movie. Avoid at all costs.