70
The New Yorker by Anthony Lane
Leconte lacks the austerity to complete a film in which nothing much occurs. And so, with some reluctance, we are bustled toward a climax. [12 May 2003, p. 82]
What are people saying?
What are critics saying?
90
Washington Post by Desson Thomson
Piquant, thoroughly engaging character drama.
75
ReelViews by James Berardinelli
The film doesn't have much of a narrative, and the ending is a little too mystical, but there's still plenty here to engage the attention of all but the most restless of movie-goers.
63
New York Daily News by Jami Bernard
One of the small pleasures of the movie is likely to escape American audiences. The bank robber is played by Johnny Hallyday, a pop icon of great magnitude in France, and the old man is played by Jean Rochefort, an acting staple of that country's cinema. The mere juxtaposition of these two personalities forms a comic set of expectations.
80
Dallas Observer by Jean Oppenheimer
Both actors are marvelous, and the film, low-key but heartfelt, is a gem.
100
Wall Street Journal by Joe Morgenstern
Goes from good to great in 90 minutes, and then it's over, except that it's really not, because this small masterwork grows even deeper and more affecting as it takes up permanent residence in your memory.
88
Charlotte Observer by Lawrence Toppman
Unobtrusively satisfying.
70
Los Angeles Times by Manohla Dargis
As a filmmaker, he (Leconte) doesn't have anything profound to say but does say his something with craft, visual flair and professionalism. Depending on your mood, that can be either too little or just enough.
90
Washington Post by Stephen Hunter
What a good movie. Sometimes you get tired of 'splaining and you just want to say: Hey, this one's really very good. That's all, folks. It's a damn good movie.
88
Philadelphia Inquirer by Steven Rea
In the end, what the movie is about: time and life, and what we do with them, and what we regret that we didn't do.