Entertainment Weekly by Lisa Schwarzbaum

The movie — the third in a trilogy of powerful political dramas from Larraín, including "Tony Manero" and "Post Mortem" — uses period detail, archival footage, and '80s-era technology to create an excellently authentic, bleached, crummy-looking document of a great democratic accomplishment.

Time Out by Joshua Rothkopf

The essential thrust here is both knowing and undeniable: No is pitched at the pivot point when the image makers were brazen enough to push ideology to the side. Considering how high the stakes were, it’s amazing they almost didn’t get the gig.

Chicago Sun-Times by Omer M. Mozaffar

The film becomes a sort of boxing match, getting more intense with each round, building to an exciting finish.

Chicago Tribune by Michael Phillips

No succeeds, wonderfully, because it knows how to sell itself. It is cool, witty, technically dazzling in a low-key and convincing way.

The Globe and Mail (Toronto) by Liam Lacey

Take the backroom political machinations of "Lincoln," add in the showbiz sleight of hand of "Argo," and you’ll get something like No, a cunning and richly enjoyable combination of high-stakes drama and media satire.

The New York Times by Manohla Dargis

Marshall McLuhan called advertising the greatest art form of the 20th century. In No, Pablo Larraín’s sly, smart, fictionalized tale about the art of the sell during a fraught period in Chilean history, advertising isn’t only an art; it’s also a way of life.

Los Angeles Times by Kenneth Turan

Even if No is not the whole truth — and no film is — its pungent dialogue and involving characters tell a delicious and very pertinent tale. And the messages it delivers, its thoughts on the workings of democracy and the intricacies of personality, are just as valuable and entertaining — maybe even more so.

Salon by Andrew O'Hehir

A troubling, exhilarating and ingeniously realized film that’s part stirring political drama and part devilish media satire.

Wall Street Journal by Joe Morgenstern

Like "Argo" or "Zero Dark Thirty," the film dramatizes a fertile subject — in this instance, the language of advertising in modern politics.

The New Yorker by Anthony Lane

The best movie ever made about Chilean plebiscites, NO thoroughly deserves its Oscar nomination for Best Foreign Film.

Empire

Initially jarring, the video aesthetic blends beautifully with period footage to give a smart depiction of a nation in transition. A well-deserved Oscar nominee.

The Guardian by Peter Bradshaw

A fascinating case study in basic-level democracy.

The Hollywood Reporter by David Rooney

Anchored by an admirably measured performance from Gael Garcia Bernal as the maverick advertising ace who spearheaded the winning campaign, the quietly impassioned film seems a natural for intelligent arthouse audiences.

Total Film by Neil Smith

“We have to find a product that’s appealing to people!” says Garcia Bernal at one point. And that’s just what Larraín’s created with this Latin spin on "Mad Men."

Slant Magazine

A singular biopic and a snapshot of a society renewed, No unaffectedly celebrates faith in democracy, and, surprisingly, truth in advertising.

Village Voice by Nick Pinkerton

No uses the actual commercial material the opposition created for its anti-Pinochet campaign and—re-creating the behind-the-scenes filming—deftly appropriates mediated history for fiction.

Variety by Leslie Felperin

After "Tony Manero" and "Post Mortem," his devastating portraits of how the Pinochet regime psychologically brutalized the people of Chile from 1973-90, Chilean helmer Pablo Larrain satisfyingly completes the trilogy with an affirmative victory for democracy in No.