Boston Globe by Wesley Morris

It's one of the great movies on the vicissitudes of love, commitment, and attraction.

Chicago Tribune by Michael Phillips

The beauty of the Turkish film Climates, a small but indelible masterpiece, is more than skin-deep. No 2006 film meant more to me. It's as sharp and lovely as the best Chekhov short stories.

Entertainment Weekly by Lisa Schwarzbaum

Exquisitely structured, pitiless study of a middle-aged man trapped in a stagnant emotional weather pattern.

Miami Herald by Marta Barber

Ceylan examines human relationships with an eye for details and a soul for the big picture.

The A.V. Club by Scott Tobias

Though Climates lacks "Distant's" haunted, poetic melancholy, it has a vivid, sensual texture that's unmistakably Ceylan's. He's one of those rare directors who doesn't need a credit for identification.

The New York Times by Manohla Dargis

This film paints a haunting portrait of existential solitude, one in which the images speak louder and often more forcefully than do any of the words.

Village Voice by J. Hoberman

A terrific movie in the Antonioni tradition, Climates confirms 47-year-old Turkish director Nuri Bilge Ceylan as one of the world's most accomplished filmmakers--handling the end of a relationship and the cloud of human confusion rising from its wreckage as if the subject had never before been attempted.

L.A. Weekly by Scott Foundas

It's something of a family affair -- only this time, instead of casting his relatives in the leading roles, Ceylan has cast himself and his real-life wife, Ebru, as Isa and Bahar. And if, in the hands of a lesser filmmaker, such a decision might foster a mood of lurid home-movie voyeurism, both Ceylans are such commanding and subtly expressive performers that any charges of nepotism here are as erroneous as in the storied collaborations of John Cassavetes and Gena Rowlands.

Los Angeles Times by Kevin Crust

An intimate drama that views the deterioration of a relationship from the inside out. Moving from summer through fall and concluding in winter, it's minimalist cinema that turns on subtle emotion rather than narrative and demands the audience's full attention.

Empire by Patrick Peters

Making masterly use of sound and image, this is a desperately sad study of the difficulty people have to communicate and commit in an increasingly insular world.

New York Post by V.A. Musetto

As with "Distant," the dialogue is minimal, the takes are long, the narrative is laconic (too much so for many viewers, I imagine) and the cinematography is painterly.

Salon by Andrew O'Hehir

Contrary to what you may read elsewhere, Climates is not a masterpiece, a word that gets pompously thrown around a lot at pictures few paying customers actually want to see. It is, rather, a meticulous study of a crumbling relationship, marked by many luminous small moments and a startling interruption of violent eroticism.

New York Daily News by Jack Mathews

Like Ceylan's earlier films, Climates is as gorgeous as it is self-consciously composed, but an hour and 40 minutes is a long time to spend with Isa, forget three seasons.

Variety by Derek Elley

Immaculately shot and composed as always, and moving at Ceylan's usual measured pace, this one is slightly enlivened by more likable perfs and a trim 98-minute running time.

Premiere by Aaron Hillis

Technically, it rewards with nothing less than painterly cinematography and a seamless surge of organic soundscapes, but the story is entirely predicated on a weather metaphor so obvious that even an unplugged Doppler radar could detect it.

The Hollywood Reporter

Under Ceylan's dull direction and the equally leaden editing, technical contributions are lackluster and straight-forward. Similar to the script, they only serve to distend an undernourished central story.