RogerEbert.com

A remarkably full-bodied and frank character study that illuminates the old saw about the political being personal in a genuinely unusual way.

RogerEbert.com by Glenn Kenny

A remarkably full-bodied and frank character study that illuminates the old saw about the political being personal in a genuinely unusual way.

Christian Science Monitor by Peter Rainer

It’s a big movie, but in an emotional, not a historical, sense. Oftentimes it has the hushness of a chamber drama even when the world is its stage.

Los Angeles Times by Kenneth Turan

Measured and beautifully modulated, the 82-year-old director has the kind of sureness and fluidity that is easy to underestimate. But it's difficult not to be impressed by the results.

Chicago Sun-Times by Bill Stamets

In the introspective The Last Sentence Swedish director Jan Troell invokes ’50’s and ’60’s Swedish cinema: masterly black-and-white cinematography, philosophical angst, a lifeless marriage and loved ones visiting from the afterlife.

Portland Oregonian by Marc Mohan

Christensen, who played the James Bond villain Mr. White in "Casino Royale" and "Quantum of Solace," cuts a striking, white-haired figure as Segerstedt, whose principled tirades against Hitler ultimately earn him the enmity of his prime minster and even his king.

New York Post by Farran Smith Nehme

This is a handsome movie, rich in period detail, but the stately pace slows to a crawl in the second half.

Slant Magazine by David Lee Dallas

Though ambitiously busy, the film is also self-sabotaging and stagnant, showcasing its main character's struggles without interpreting them into a cohesive thesis.

Washington Post by Michael O'Sullivan

It’s a thoughtful and workmanlike portrait, but a less than profoundly moving one.

Wall Street Journal by Joe Morgenstern

I can't recommend it without reservation, but it's a must-see for those who have followed Mr. Troell's career, and a should-see for those who can look past its oddities to its cumulative power.

The Dissolve

Troell’s portrait, driven by a desire to excavate the truth, is a refreshing respite from artificial biopics.

The Dissolve by Sam Fragoso

Troell’s portrait, driven by a desire to excavate the truth, is a refreshing respite from artificial biopics.

Variety by Dennis Harvey

This biographical drama, shot in crisp black-and-white, offers a potentially intriguing study in high-minded political/moral obstinacy, but feels too claustrophobic — and, finally, tediously like a one-man window on great events — to fully come to dramatic life.

The New York Times by Manohla Dargis

Although its black-and-white visuals catch the eye, The Last Sentence soon loosens its hold on your attention by flooding the story with mind-numbing, uninteresting details while real history slips through the cracks.

Village Voice by Calum Marsh

This attention to the personal crises of Segerstedt comes at the expense of a broader and more elusive subject, namely, the war. We know what Segerstedt did, and Troell tries to ask why. What he ignores are the implications.