(2003)

Critic Reviews

47

Metascore

Based on 23 critic reviews provided by Metacritic.com
75
Veteran British director Eric Till otherwise does a credible job of sweeping us through this huge life, and his eye for detail combines with the Oscar-worthy production design and a succession of striking Eastern European locations to create a rich visual tapestry of the Middle Ages.
63
Chicago Tribune
Aside from a couple of unintelligible conversations with himself, there's barely any God here. The film would rather just be inclusive. Luther might have wanted it that way, but as moviegoers, it's hard not to want more.
60
Dallas Observer
With Joseph Fiennes as the conflicted, frequently self-hating Luther, this historical drama/biopic offers a fairly thorough overview of the period (although it's weak on the "good deeds" angle) but is somewhat dry and weighted with significance.
60
The A.V. Club
The unimposing Fiennes may not suggest the burly Luther's plain-talking peasant background, but he at least captures the charisma.
60
It's just unfortunate that a movie about such a daring man ultimately takes few risks.
60
After a summer of numbing mindlessness, there is something frankly refreshing about a movie that deals even superficially with as significant a figure as the rebellious 16th century theologian Martin Luther, one of the founders of Protestantism and the man who put the reform in the Reformation.
50
Plunges energetically into the 16th-century religious rebel's activities and philosophies. It dodges some significant issues in Luther's life, however, reducing its value as an educational film.
50
New York Daily News
But for that one bright, incongruous yuk-fest in the classroom, Luther is deadly material, full of self-righteousness and devoid of balance.
40
The New York Times
As the film veers uncertainly between meticulous historical recapitulation and shameless hokum, it brings enough characters to populate a mini-series. When the historical details become too clogged, the movie shamelessly overcompensates by wallowing in cheap sentimentality.
20
L.A. Weekly
British director Eric Till’s ghastly Euro-pudding co-production (with all the international accents and badly post-synchronized dialogue that implies) manages to make a travesty of its title subject.

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