San Francisco Chronicle by Jonathan Curiel

A beautiful film.

Chicago Sun-Times by Roger Ebert

This documentary by Elizabeth Chai Vasarhelyi could have used more music for my taste, and fewer talking heads. But it’s absorbing all the same.

Los Angeles Times

Best when exploring the nitty gritty of N'Dour's life as a musician, favorite son and cultural ambassador.

Los Angeles Times by Ann Powers

Best when exploring the nitty gritty of N'Dour's life as a musician, favorite son and cultural ambassador.

Chicago Reader by Andrea Gronvall

N’dour’s concert numbers and family visits are captivating, but Vasarhelyi is so uncritical toward the singer that she inadvertently makes him look as though he’s running for sainthood.

Washington Post by Ann Hornaday

But by far the most powerful element is N'Dour's lone voice, a thing of high, pure beauty that feels at once ancient and new. When he sings, an otherwise earnestly conventional film becomes a vehicle of incantatory power.

Christian Science Monitor by Peter Rainer

Although his movie often resembles the kind of promotional video one might find as an extra on a concert DVD, N'Dour in full throttle is a sight, and sound, to behold.

The A.V. Club by Nathan Rabin

Love looks and sounds great, but in depicting N’Dour as a lofty symbol for music’s power to bridge worlds and inspire, it sometimes loses sight of the man.

New York Daily News by Elizabeth Weitzman

Though we see the same man throughout the bumpy tour captured here -- always calm, steady, faithful -- it's bound to prove an enlightening portrait for those who know him only as the guy who once worked with Peter Gabriel.

Village Voice

For all the singer's sincere intentions to build secular-religious bridges, a straight-up concert film might have been a better approach, especially given viewer fatigue with those musicians and their causes.

Village Voice by Nicolas Rapold

For all the singer's sincere intentions to build secular-religious bridges, a straight-up concert film might have been a better approach, especially given viewer fatigue with those musicians and their causes.

The Hollywood Reporter by Frank Scheck

Part concert film, part narrative, it isn't fully successful on either level, coming across more like an overlong DVD extra than a fully stand-alone work.

New York Post by V.A. Musetto

The film works best when we see N'Dour onstage. He has a great set of pipes and is nothing if not charismatic.

The New York Times by Nathan Lee

Perhaps because the music is so good, with its purity of tone and dazzling rhythmic precision, the flaws of the surrounding movie become all the more obvious.

Austin Chronicle by Marjorie Baumgarten

When the film sticks to biographical and career background, it is on steady ground, but when it argues the case for one particular album, it becomes promotional rather than documentary material.