Entertainment Weekly by Lisa Schwarzbaum

The Reckoning, with a script by Mark Mills, demands close attention; it's a play of words and ideas crowding for consideration.

Los Angeles Times by Manohla Dargis

The Reckoning isn't great by any means and there are moments during the final stretch when it isn't even good. But for its first hour or so, the story moves at a steady clip, generating enough mystery to keep you guessing and enough atmosphere to keep you interested.

Variety

Has its flaws, among them a certain self-righteousness and a complicated storyline, but it is never less than gripping thanks to its gifted international cast.

Christian Science Monitor by David Sterritt

The story never gathers much dramatic momentum despite an impressive cast and a lot of dank Middle Ages atmosphere.

New York Daily News by Jack Mathews

Has so many ideas working in it that they all but suffocate its thin plot.

L.A. Weekly by Scott Foundas

The Reckoning proceeds with such leaden literal-mindedness that it never seems more than a stodgy (and, at times, blatantly silly) paperback affair.

The New York Times by Dana Stevens

Trudges along the well-trod path of high-minded, schematic storytelling.

Village Voice by Ed Park

Emphatically acted, ponderous, and ultimately a little silly.

The A.V. Club by Keith Phipps

Maddeningly dull. It works on the cerebrum while the rest of the body drifts off to sleep, and the dullness only intensifies as the film goes on.

Wall Street Journal by Joe Morgenstern

The crucial evidence has to do with rigor mortis. The movie's a stiff too.