93% Amour

All Critics (114) | Top Critics (31) | Fresh (106) | Rotten (8)

The film is a graphic portrayal of the unfunny end game we're all fated to play; the title is just a simple declaration of how best to play it.

"Amour" is also unforgettable and one of a kind, two hours of torment that, in the end, you will probably not regret.

Small, sure and stunningly acted, this is a picture of exacting control, which is to be expected from Haneke, whose works include Cache and The White Ribbon.

[Haneke] has put his finger on a very particular kind of heartbreak: seeing a lover give up not on you but on the life you've shared.

Amour is the simplest yet most passionate film of Haneke's incredible career.

As it unflinchingly faces mortality, Amour is full of incomparably beautiful and sad moments.

Haneke treats Georges and Anne with absolute respect, never pandering to sentiment or clich? and most assuredly not sugarcoating the experience of walking one's partner through suffering, toward death.

Haneke doesn't offer easy solutions or pat emotions. He merely offers us a chance to eavesdrop and holds a mirror up to our own fears of old age, hopes for love, and challenges through life.

A confident, lovingly articulated mood piece about a subject that is universal, yet rarely told.

A masterpiece of restraint, intelligence and humanity.

Often looks and hurts like seeing real lives in real time. Is that enough? Honesty gradually becomes simplicity as the film's reality outweighs its insight.

The most brutally honest picture ever made about growing old and wasting away.

The story is heart-breaking in its honest depiction of life near the end.

The film has been declared a masterpiece by many, and yet the director's inability to put aside his usual chilly remove encases "Amour's" protagonists under glass.

Haneke, a master of icy appraisal, here contemplates an elderly Parisian couple at the very end of their lives.

An examination of life and death, this minimalist film succeeds on all levels.

On paper it's a welcome change of pace for Haneke, but his tendency to treat the couple as patients rather than characters -- at a cold remove rather than with a warm embrace -- feels at odds with the material.

Source: http://www.rottentomatoes.com/m/771307454/

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