TheWrap by Carlos Aguilar

Ozon manages to instill a measured touch into every argument, outburst, and testimony, matching the naturalistic cinematography (by Manuel Dacosse, “Let the Corpses Tan”) and bestowing on us the most important and assured movie on this treacherous topic made this decade.

The New York Times by Glenn Kenny

By the Grace of God is a rarity: An important film that’s also utterly inspired.

Observer by Rex Reed

By the Grace of God is still one of the best films of 2019.

Los Angeles Times by Justin Chang

In lieu of poetry, [Ozon] has composed an exemplary piece of prose: clear, direct and quietly illuminating. At the same time, you would hardly describe this movie as neutral or devoid of anger. On the contrary, its moral outrage is all the more pronounced for being so controlled.

Original-Cin by Liam Lacey

Ozon’s film evolves less as a procedural story than a character study.

IndieWire by David Ehrlich

A thoughtful, fast-paced, and immaculately acted procedural that unfolds with the urgency of a newspaper deadline, By the Grace of God zips through the facts of this horrid case, while also shaping them into a lens through which to examine the uneasy relationships between mercy and justice — between faith and the flawed institution that exists to preserve it.

Film Threat by Alex Saveliev

Ozon knows his camera placements, musical cues, and, of course, actors, and here he barely steps wrong, pulling us into the narrative, even while dialing back on his usual extravagance.

Variety by Guy Lodge

That the film works as stirringly as it does is largely because of that brash, heart-on-sleeve engagement with its characters’ messy, unfinished feelings, not to mention Ozon’s canny knack for playing on French star personae.

Empire by Ian Freer

By The Grace Of God lives in the present, a fast-paced, exciting, beautifully played film that matches Spotlight as a searing portrait of modern heroes who stood up.

RogerEbert.com by Odie Henderson

While this is a true story, Ozon goes the fictional movie route, taking a bit of dramatic license while keeping most of the actual details intact. The director impressively juggles the large scope of his script while maintaining the sense of intimacy for his male actors that he normally reserves for his female characters.

Screen Daily by Jonathan Romney

Superbly acted and highly controlled, the film doesn’t afford easy entertainment, its slow pace and weighty sense of narrative responsibility making for heavy viewing during stretches of its extended running time.

The Hollywood Reporter by David Rooney

This is a social justice film made with purposeful conviction and a quiet, never strident, sense of indignation.

The A.V. Club by Mike D'Angelo

Mostly, though, this very empathetic project suffers from an inability to offer anything beyond what one would expect from its synopsis.