50
Village Voice by Alan Scherstuhl
Come What May stirs little suspense or unease as it cuts between these stories.
What are people saying?
What are critics saying?
50
Arizona Republic by Bill Goodykoontz
The best thing about the movie is Matthew Rhys.
25
Slant Magazine by Clayton Dillard
Christian Carion's film shamelessly wrings excitement from the recreation of violent ideological conflict.
40
The New York Times by Glenn Kenny
The depredations of the Nazis are depicted in a way that will make viewers want to declare war on Germany anew. But Come What May is also too pretty of a movie. It is often sentimental and, worse, schematic.
50
The Hollywood Reporter by Jonathan Holland
It’s an impressive backdrop to what’s otherwise a polished period piece without much of a bite to it, hitting all the right notes but doing nothing that feels exciting or out of the ordinary.
40
Austin Chronicle by Marc Savlov
Come What May over-romanticizes the horrific, forced French exodus.
50
Director Christian Carion’s first feature since 2009’s “Farewell” is bolstered by a sweeping Ennio Morricone score, yet his narrative is too episodic, and his characters too one-dimensional, to carry the weight of grand historical tragedy, resulting in a picturesque, middle-of-the-road effort.
50
RogerEbert.com by Odie Henderson
If you ever wanted to see a wartime movie that feels directed by a kinder, gentler Michael Bay, Come What May is right up your alley. It plays like a more cultured — and very French — version of “Pearl Harbor," complete with bad CGI battle sequences, jaw-dropping plot coincidences, over-the-top nationalistic gestures and dialogue that often sounds swiped from a soap opera.
75
Christian Science Monitor by Peter Rainer
The great Ennio Morricone, still going strong at 87, wrote the marvelous film score.
75
Come What May is not exactly a new idea but a sensitive, polished and carefully executed film anyway, extremely thoughtful and well worth seeing.