Variety by Jessica Kiang

This is not, in the end, a tale of hubris brought low, or even of a tacky life staring down a long lens at a tawdry, dwindling death. Instead it’s a chilling parable about the sins of the father becoming the punishments of the son, and about the moral arc of the universe bending, across generations, toward the coldest justice imaginable.

RogerEbert.com by Matt Zoller Seitz

Austrian filmmaker Ulrich Seidl is one of the world's best directors of actors, and he nears some kind of a peak in Rimini, a blisteringly funny and often touching film about people struggling towards happiness despite having experienced lifetimes of disappointment.

Slant Magazine by Pat Brown

The film fleshes out the perhaps familiar characterizations at its center by tying contemporary wounds to the persistent presence of Europe’s ugly history.

The Film Stage by Rory O'Connor

Thomas’ Bravo, recalling both Mikey Saber and Mickey Rourke, has a protruding gut, slicked-back hair, an alcohol problem, and some deep-rooted mommy issues. The film is all his.

Los Angeles Times by Justin Chang

It’s worth your time, your discomfort, your possible scorn and your weirdly grudging affection, maybe all at once.

The Hollywood Reporter by Leslie Felperin

This stands as one of Austrian director Ulrich Seidl’s better but not quite best features in a pretty consistent career, not as scurrilously seedy as him at his worst, or as merciless, but not as ambitious or startlingly insightful as his best.

The Guardian by Peter Bradshaw

Perhaps this one doesn’t take Seidl’s creative career much further down the road to (or away from) perdition, but it is managed with unflinching conviction, a tremendous compositional sense and an amazing flair for discovering extraordinary locations.

Movie Nation by Roger Moore

Rimini is a darkly-comic Austrian tale of a Lounge Singer in Winter, figuratively and literally.

The New York Times by Beatrice Loayza

We know there’s great tragedy and ugliness behind the smoke and mirrors, but we watch in amusement nonetheless. Sinisterly, Seidl reminds us how easy it is to turn people into objects for the taking.

Screen Daily by Jonathan Romney

Michael Thomas’ imposing performance will be the hook for a film that, while executed with Seidl’s typical steely control, might strike his followers as being a touch too familiar – while non-adepts will find its darker dimensions altogether too bleak for comfort.