Los Angeles Times by Kenneth Turan

A perfect storm of a motion picture, with an icy, immaculate director unexpectedly taking on deeply emotional subject matter.

Observer by Rex Reed

Don't let Amour join the legion of "Best Films You Never Saw." I urge you to share its sweetness and wisdom, and learn something.

The Guardian by Peter Bradshaw

The icy message may be that love is not a consolation as we face death. Rather the reverse. Love will give your death meaning, but make it no less unbearable.

Total Film by Jamie Graham

A compassionate, masterful work that deservedly won Haneke a second Palme d'Or after "The White Ribbon's" 2009 victory. Best to avoid on a first date, though.

Empire by David Hughes

Michael Haneke's Palme D'Or winner is uncomfortable, uncompromising, unflinching... and utterly unmissable. Old age may not be a reality you wish to confront, but you must see this film.

New York Daily News by Joe Neumaier

Small victories that turn into defeats, long walks to gain little ground, little wounds that get deeper every day - growing old is a war, and movies rarely go there. Michael Haneke's amazing, dignified Amour is the exception.

New York Magazine (Vulture) by David Edelstein

Something sacred passes between Trintignant and Riva. The actress's eyes signal deep awareness as the sounds coming out of her mouth become animalistic.

The A.V. Club by Scott Tobias

A director known for the icy classicism and genre subversion of films like "Funny Games" and "Caché," Haneke has a pitilessness that could not be more perfect for Amour, which would collapse at any whiff of sentimentality.

The New York Times by Manohla Dargis

A masterpiece about life, death and everything in between.

Variety by Peter Debruge

Considering Haneke's confrontational past, this poignantly acted, uncommonly tender two-hander makes a doubly powerful statement about man's capacity for dignity and sensitivity when confronted with the inevitable cruelty of nature.

Rolling Stone by Peter Travers

These two glam stars of French cinema – Riva in 1959's "Hiroshima Mon Amour" and Trintignant in 1966's "A Man and a Woman" – give performances of breathtaking power and beauty. Prepare for an emotional wipeout.

Time Out by Joshua Rothkopf

It's not an easy sit; we're never let off the hook with golden-hued memories or belated bits of wisdom. Maybe this is love after all.

Movieline

For all that it is, as promised, about love, it's also a subtly punishing affair that grinds you into the ground as you watch an elderly couple deal with one member's slow deterioration of health and sanity.

Slant Magazine

This isn't the work of a newly moral or humanistic filmmaker, but another ruse by the same unscrupulous showman whose funny games have been beguiling us for years.