The Return(Возвращение)

Film Threat by

With exceptional performances and extraordinary imagery, Zvyagintsev has fashioned a remarkable first feature.

The New York Times by Dave Kehr

At once highly naturalistic and dreamily abstract, playing out its mythic themes through vibrantly detailed characterizations (and remarkable performances by the entire cast). The Return announces the arrival of a major new talent.

Christian Science Monitor by David Sterritt

Enriched by allusions to biblical stories of fathers, sons, and sacrifices, subtly woven into the movie's moodily photographed fabric.

Variety by Deborah Young

Constructed like an eerie, metaphorical thriller, this tense, riveting character study offers viewers nearly two hours of emotions with a stunning pay-off no one will be expecting.

Village Voice by J. Hoberman

Primordial and laconic, this remarkably assured debut feature has the elegant simplicity of its title.

New York Daily News by Jami Bernard

A haunting, melancholy work.

New York Magazine (Vulture) by Peter Rainer

The hurt and rage flying back and forth have primal power, like Russian-flavored Eugene O'Neill. It's rare for a movie to work as effectively as this one does on such parallel tracks.

The Hollywood Reporter by Sheri Linden

At once a powerful psychological thriller and a haunting allegory, The Return marks an auspicious feature debut for helmer Andrey Zvyagintsev.

The New Republic by Stanley Kauffmann

Still, it never quite realizes the oneiric quality because, paradoxically, of its best achievement--the performances of the two boys. They are vital, insistent. Their beings contradict the dreaminess and make us ask the questions mentioned above.

New York Post by V.A. Musetto

Vladimir Garin and Ivan Dobronravov are amazingly natural as the boys, and Konstantin Lavronenko impresses as the taciturn father.